Rush is a Canadian progressive rock band comprising bassist, keyboardist and vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart (IPA: [pɪɹt]). Rush formed in the summer of 1968, in Willowdale, Ontario (a northern suburb of Toronto) by Lifeson, Lee, and John Rutsey. Peart (from St. Catherines, Ontario) replaced Rutsey on drums in July of 1974, two weeks before the group's first US tour, to complete the present lineup. Since the release of their eponymous debut in 1974, the band became well known for their instrumental virtuosity, complex compositions, erudite lyrics, and inspirational comradery. Rush's three decades of continued success under their current lineup of Lee, Lifeson, and Peart has earned the band the respect of their musical peers, and their supporters are often cited as one of the most intensely loyal fanbases in the history of rock. Rush have also had a profound musical influence on such artists as Dream Theater, Symphony X, Shadow Gallery, Primus, Metallica, Smashing Pumpkins, and fellow Canadian rockers The Tragically Hip and The Barenaked Ladies.
Rush has been awarded the Juno Award[1] several times and were inducted into the Canadian Music Hall of Fame in 1994[2] (For a complete awards list see the "see also" section below). Additionally, Lee, Lifeson, and Peart are all Officers of the Order of Canada.[3] Over the course of their career, the individual members of Rush have been recognized as some of the most proficient players on their respective instruments. Each member has won several awards in magazine reader's polls.[4] As a whole, the band boasts 23 gold records and 14 platinum (3 multi-platinum) records making them one of the best selling rock artists in history. Furthermore, Rush currently rivals KISS, the Beatles and The Rolling Stones for the most consecutive gold and platinum albums.[5]
Musical style
The "starman" logo (by artist Hugh Syme) first appeared on the back cover of the 1976 album,
2112. Neil Peart explained in 1982, "All it means is the abstract man against the masses. The
red star symbolizes any
collectivist mentality."
Rush's musical style has changed substantially over time. Their debut album is strongly influenced by British-Blues rock: an amalgam of sounds and styles from such rock bands as Cream, Led Zeppelin, Black Sabbath, and Deep Purple. Over the first few albums their style remained essentially hard rock, with heavy influences from The Who and Led Zeppelin[6], but also became increasingly influenced by the British progressive rock movement. This fusion of hard rock and prog rock continued until the end of the 1970s. In the 1980s, however, Rush successfully merged their trademark sound with the trends of this period, experimenting with New Wave music, reggae, and pop rock[7]. This period included the band's most extensive use of instruments such as synthesizers, sequencers and electronic percussion. It is largely agreed that the culmination of this era of Rush was in 1987 after the release of Hold Your Fire. With the approach of the early '90s and Rush's character sound still intact, the band transformed their style once again to harmonize with the on-going modern rock and alternative genres.[8] The new millennium has seen them return to a more rock-n-roll roots sound, albeit with modern production.
Reputation
Apart from being known for prolific writing, musical influence, and instrumental prowess, Geddy Lee's high-register vocal style has always been a main signature of the band. However, more oft than not it is the concentration of intense detraction and criticism from both non-fans and critics alike, especially during the early years of Rush's career when Lee's vocals were high-pitched, and almost falsetto sounding with a strong likeness to singer Robert Plant. In fact, his voice is often described as a "wail." [9] Nevertheless, Lee's vox has softened significantly over the years and still remains distinctive, and even somewhat unique in the Rock & Roll genre. His instrumental abilities, on the other hand, are rarely criticized. His main shtick, particularly during the '80's, was his ability to competently operate several different pieces of instrumentation simultaneously. This was mostly evident during live shows when it was necessary for Lee, as the frontman, to play bass, supply lead vocals, manipulate keyboards, and trigger footpedals during the course of a performance. Obviously this restricted his movement significantly, as he was required to remain in one place during songs which contained complex instrumentation. While less extensive, Peart, and to a lesser extent Lifeson, were responsible for similar actions during live shows. Besides cuing various guitar effects, Alex's duties have also involved the use bass-pedal synthesizers. Also, known for a highly variegated setup, Neil's drumkit continues to be equipped with an enormous array of percussion instruments for sonic diversity.
Over 30 years of activity has provided Rush with the opportunity for musical diversity across their discography as well. Like many bands known for experimentation, such changes have inevitably resulted in strong dissent among critics and fans. The bulk of the band's music has always included synthetic instruments in some form or another, and this, more than anything else, is a great source of contention in the Rush camp, especially in regards to the band's heavy reliance on synthesizers and keyboards during the 1980s[10] [11]. Still, many saw this as nothing less than artistic growth and support for the band remained unwavering through each transitional phase[12]. Neil Peart's lyrics have also attracted much attention over the years due to his eclectic style. Known for penning concept albums and literature inspired stories, opinions of his writing have varied greatly running the gamut of cerebral and insightful to overly pretentious and preachy[13]. However, many of the criticisms targetted the band's earlier lyrics when Neil's inspirations were mainly drawn from the science-fiction and fantasy genres. Much of the censure evaporated as time wore on, and as the lyrics became increasingly more introspective, humanitarian, and thoughtful.
History
- For more details on this topic, see History of Rush (band).
The Rutsey era (1968–1974)
The original lineup of Rush formed in September 1968, consisting of Jeff Jones (bass and lead vocals), John Rutsey (drums and backing vocals), and Alex Lifeson (guitars and backing vocals). Quickly, Jones was replaced as bassist and lead vocalist by Lifeson's schoolmate Geddy Lee. After this point, Rush experienced rapid personnel changes and lineup reformations before finally settling on the first officially recognized incarnation of the band. In February 1971, Mitch Bossi was recruited as rhythm guitarist; however, his tenure was extremely short-lived and he quit in May of the same year, thus leaving behind the three members to carry on as a trio.
After experiencing some stability in their lineup and honing their skills on the local bar/high school dance circuit, Rush decided to release their first single in 1973 before attempting work on a full album. Side A contained "Not Fade Away", a cover of a Buddy Holly song, while on side B there was an original composition titled "You Can't Fight It" credited to Rutsey and Lee. To the dismay of the band, the single did not generate the desired reaction on the commercial circuit. Because numerous record companies refused to produce and distribute Rush's music, the band was forced to form their own record label, Moon Records. However, despite these early setbacks, Lee, Lifeson, and Rutsey forged ahead and released their first album in 1974, the self-titled Rush. Highly derivative of Led Zeppelin[14], Rush had limited local popularity until the original release, distributed by Moon Records, was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ working at the time, selected the 7 minute jam-based "Working Man" to be part of the regular play cycle. This song was the band's first release to garner positive commercial feedback. It instantly resonated with hard rock fans in North America; being reminiscient of Led Zeppelin, with Geddy Lee sounding similar to Robert Plant, and Alex Lifeson's guitar riffs modeled partly after Jimmy Page's style. This popularity led the album to be redistributed by Mercury Records.[15] [16]
A new direction (1974–1976)
Immediately after the release of the debut album, Rutsey resigned due to his affliction with diabetes and a distaste for touring. Rush held auditions for a replacement drummer before finally selecting Neil Peart. He became the band's principal lyricist as Lee and Lifeson had very little interest in writing, contributing to only a few songs over the rest of the band's career. Instead, the two of them focused solely on the musical aspect of Rush. Fly By Night (1975), Rush's first album after recruiting drummer Neil Peart, saw the inclusion of the band's first mini-epic tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Neil due to his love for fantasy and science-fiction literature. However, despite these many differences most of the music still closely mirrored the style found on Rush's debut.[17]
Following quick on the heels of Fly By Night, the band released Caress of Steel (1975) a five track hard/art rock album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth". Caress of Steel was considered an audacious move for the band due to the placement of two protracted numbers back-to-back, as well as a heavier reliance on atmospherics and story-telling: a large deviation from Fly by Night. Intended to be the band's first "break-through" album, Caress of Steel sold below expectations, and the promotional tour consisted of small venues which led to the moniker the "Down the Tubes Tour".[18] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, in spite of such urges, the band ignored the requests and developed their next album, 2112. It was the band's first taste of commerical success and their first gold and platinum album.[19] It is widely considered to be the pinnacle of early period Rush. The lyrics of this time (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction and, in a few cases, the writings of novelist and philosopher Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[20] After the rousing success of 2112, the band released a double live album titled All the World's a Stage in 1976.
The Progressive Rock era (1977–1981)
After the highly acclaimed and well-received 2112, Rush followed up and delivered 1977's A Farewell to Kings and 1978's Hemispheres. These albums saw the band pushing the prog rock envelope even further than before by expanding their use of progressive elements. Trademarks such as increased synthesizer usage, extended length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. In order to achieve a broader, progressive palette of sound, Alex Lifeson began to experiment with twelve- and six-string classical guitars, and Geddy Lee added bass-pedal synthesizers and Mini-Moog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood-blocks, cow-bells, and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. As the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangemements.
1980's Permanent Waves shifted Rush's style of music dramatically via the introduction of reggae and new wave. Additionally, although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, due to the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill". Both songs continue to make appearences on classic rock radio stations in Canada and the United States to this day. Meanwhile, Neil's lyrics shifted toward an expository tone with subject matter that dwelled less upon fantastical or allegorical story-telling and more heavily on cerebral topics that explored humanitarian, social, emotional, and metaphysical elements.
Rush
(Moving Pictures session photo 1981)
Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly pop-progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best known song, while "Limelight" also received satisfactory responses from listeners and radio stations. Furthermore, Moving Pictures was the very last album to feature an extended song, the 10-and-a-half-minute "The Camera Eye". Incidentally, the song also possessed the band's heaviest usage of keyboards and syntheizers up to that point hinting that Rush's music was shifting directions once more. Moving Pictures reached #3 on the Billboard Album Chart and has been certified quadruple platinum by the Recording Industry Association of America (RIAA).[21]
Following the success of Moving Pictures (and the completion of another four studio albums) Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's successful Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound. The band underwent another radical stylistic transmutation with the release of Signals in 1982.
The Synthesizer period (1982–1989)
While Geddy Lee's synthesizers had been featured instruments ever since the late 70s, 1982's Signals arguably represented Rush's most drastic stylistic transformation up to that point. Keyboards were suddenly shifted from a contrapuntal background to the melodic frontlines. Traditional guitar solos also became less of a focal point as seen in both "Countdown" and the lead-off track "Subdivisions". Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983.
Rush
(The Body Electric Music Video, 1984)
Signals contained Rush's only US top-40 pop hit, "New World Man". Musically, other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk. More specifically, Alex Lifeson's guitar tone and playing style on Signals were very reminscient of contemporary acts of the time who were well known for incorporating such rhythms into their music. These diverse styles would come into further play on their next studio album.
The style and production of Signals were patently augmented and taken to new heights on 1984's Grace Under Pressure. Although Geddy Lee's use of sequencer and synthesizer remained the band's cornerstone, his focus on new technology was complemented by Neil Peart's adaptation of electronic drums and percussion—a sonic evolutionary step similar to A Farewell to Kings. Alex Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals. Even still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms; "Red Lenses, "Red Sector A", and "The Enemy Within" serving as prime examples. Grace Under Pressure also featured several popular MTV music videos, including the anti-nuclear anthem "Distant Early Warning." "The Body Electric" would prove a staple of AOR and classic rock radio.
1985's Power Windows was immediately followed by 1987's Hold Your Fire. Produced by Peter Collins, the music on these two albums give far more emphasis and prominence to Geddy Lee's multi-layered synthesizer work. However, Power Windows still builds somewhat upon the momentum from Grace Under Pressure, even as it involves more sophisticated usage of sequencers and guitar minimalism. However, Alex Lifeson's presence is still palpable on "The Big Money," (the album's modest-charting single) with spotlights on "Grand Designs," "Middletown Dreams," and "Marathon." Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and the culmination of this era of Rush. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord colorings and razor-thin leads. Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in 1987. This would convince the group to change record labels from Polygram to Atlantic in 1989.
A third live album and video, A Show of Hands (1989), was also released by Polygram following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the 80s.
Changing styles (1989–1997)
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. While synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. This return to three piece instrumentation helped pave the way for future albums in the mid 90s, which would adopt a more straightforward rock formula. Continuing this trend, 1991's Roll the Bones extended the use of the standard three instrument approach with even less focus on synthesizers than its predecessor. While, musically, the album does not deviate too much from a general pop rock sound, some songs exhibit traces of more exotic styles. "Roll the Bones", for instance, has some funk and hip-hop elements, while the instrumental track "Where's My Thing?" (the band's first instrumental piece in a decade) features several jazz components[22].
Neil Peart, Alex Lifeson and Geddy Lee of Rush
(Roll The Bones tour photo 1991)
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts and the followup 1996's Test for Echo. Musically, Counterparts and Test For Echo are two of Rush's most guitar-driven albums. While the music in general did not meet the criteria for "progressive rock", some of the songs could be considered more adventurous than what one might expect from a standard modern rock band. For instance, "Time and Motion" possesses multiple time signature changes and heavy organ, while the instrumental track, titled "Limbo", consists of several distinct, and relatively complex, musical passages repeated throughout the duration. Musically, Test For Echo still retained much of the hard rock/alternative stylings already chartered on the previous record. Lifeson and Lee's playing remained more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing due to formal Jazz and Swing training.
Hiatus and comeback (1997–Present)
After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly due to personal tragedies in Peart's life. Peart's daughter Selena died in a car accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart embarked on a self-described "healing journey" by motorcycle in which he travelled extensively across North America. He subsequently wrote about his travels in his book Ghost Rider: Travels on the Healing Road. Rush later stated that they had nearly broken up during this period due to Peart's situation. During this abeyance of activity as Neil recuperated a triple-CD live album entitled Different Stages was released in 1998. It contained two discs packed with recorded performances from the band's Counterparts and Test for Echo tours, marking the fourth officially released live album by the band.
Geddy Lee, Alex Lifeson and Neil Peart of Rush
(30th Anniversary tour photo 2004)
After sufficient time to grieve and reassemble the pieces of his life, Neil married photographer Carrie Nuttall in September of 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. The band returned in May 2002 with Vapor Trails. While mostly heavy rock, the album displayed a fair share of musical eclecticism ranging from standard modern-riff rock and poppy numbers to songs that display a fresh smattering of progressive flavor. Vapor Trails also marks the first studio recording not to include a single synthesizer, organ, or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Alex Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately fourteen months to complete, by the far the longest the band has ever spent writing and recording a studio album[23]. The album debuted to moderate praise and was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual DVD, Rush in Rio, was released in late October 2003. It is a full concert performance on the last night of their Vapor Trails tour, recorded November 23, 2002, at Maracana Stadium, Rio de Janeiro, Brazil. In order to celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP featuring eight covers of such artists as Cream and The Who. Rush again hit the road for a very successful 30th Anniversary Tour, playing dates in the United States, Canada, the UK, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. A Frankfurt, Germany concert was recorded for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005.
Future plans
During promotional interviews for the R30: Live in Frankfurt DVD, the band confirmed their intention to return to the studio in early 2006 with a view to releasing a new album later in the year, with yet another tour to follow. Lifeson has confirmed that the writing and recording processes for the new album will be executed differently than they were in the past. Instead of writing all of the songs first followed by recording, mixing and mastering sessions, small groups of songs will be written and recorded in procession. Recently, he had remarked that 6 songs had been completed on the new album.
In a January 20, 2006 post on his own website, Peart stated that "the actual work" of recording a new album "is sure to take most of 2006 to accomplish," and that "any tour dates in 2006 are unlikely — maybe next year."[24]
The Rock and Roll Hall of Fame debate
Despite Rush's solid success and following, they have yet to be inducted into the Rock and Roll Hall of Fame.
The members of Rush have themselves noted that people "either love Rush or hate Rush", resulting in strong detractors and an intensely loyal fan base. Rolling Stone has often been blamed for their inability to enter the Hall.[25] Despite having completely dropped out of the public eye for five years after Test for Echo and the band being relegated almost solely to classic rock stations in the U.S., Vapor Trails release shot up to #6 on the Billboard Chart in its first week of release in 2002. The subsequent Vapor Trails tour grossed over $24 million and included the largest audience ever to see a Rush show — 60,000 fans in São Paulo. The following year, the band released Rush in Rio, which the RIAA has certified gold, marking the fourth decade in which a Rush album had been released and certified at least gold. Moreover, in 2004, Feedback cracked the top twenty on the Billboard 200 chart, in addition to receiving radio airplay.
Band members
- Geddy Lee - Bass guitar, Mini-Moog, Oberheim Polyphonic, Tarus Pedals, synthesizers, lead vocals (1968–present)
- Alex Lifeson - Twelve and six string accoustic and electric guitars, bass pedals, backing vocals (1968–present)
- Neil Peart - Drums and percussion (1974–present)
- John Rutsey - Drums (1968–1974)
Discography
Rush has produced numerous albums over the course of three decades.
Studio albums
- G = 500,000, P = 1 million, M=Multiplatinum. For example, M(2) = 2 million
Other studio records
Live albums
Videos
Compilations/interviews
Solo efforts
- Burning for Buddy, Volume 1 (Buddy Rich tribute album) – (Solo), Peart, et al. (1994)
- Burning for Buddy, Volume 2 (Buddy Rich tribute album) – (Solo), Peart, et al. (1997)
- Victor – (Solo), Lifeson, et al. (1996)
- My Favorite Headache – (Solo), Lee, et al. (November 2000)
Books
- Rush: Visions: The Official Biography – Banasiewicz, Bill. (1988), Omnibus Press – ISBN 0711911622
- Rush Tribute: Merely Players – Telleria, Robert (2002) – ISBN 1550822713
- Rush: Success Under Pressure – Gett, Steve. (1984) – ISBN 0895242303
- Rhythm & Light – Nuttall, Carrie, (2005), Rounder Books, ISBN 1579400930
- Drum Techniques of Rush – Peart (1985) – ISBN 0769250556
- More Drum Techniques of Rush – Peart, Wheeler (1989) – ISBN 0769250513
- The Masked Rider: Cycling in West Africa – Peart (1999) – ISBN 1895900026
- Ghost Rider: Travels on the Healing Road – Peart (2002) – ISBN 1550225464 (hardcover), ISBN 1550225480 (paperback)
- Traveling Music: Playing Back the Soundtrack to My Life and Times – Peart (2004) – ISBN 1550226649
- Contents Under Pressure: 30 Years of Rush at Home and Away – Popoff, Martin. Publisher: Ecw Press (June 28, 2004) – ISBN 1550226789
- Mystic Rhythms: The Philosophical Vision of Rush – Price, et al. (1999) – ISBN 1587151022
Videos
Audio samples
References and notes
- ^ Rush Juno awards list. URL accessed on March 16, 2006.
- ^ Canadian Music Hall of Fame. URL accessed on March 16, 2006.
- ^ The Order of Canada member list. URL accessed on March 16, 2006.
- ^ Individual awards list. URL accessed on March 17, 2006.
- ^ RIAA certifications. URL accessed on March 16, 2006.
- ^ Allmusic: Rush (album). URL accessed on March 18, 2006.
- ^ Allmusic: Signals. URL accessed on March 18, 2006.
- ^ Allmusic: Counterparts. URL accessed on March 18, 2006.
- ^ Allmusic: Geddy Lee Biography. URL accessed on March 18, 2006.
- ^ Allmusic: Grace Under Pressure. URL accessed on March 18, 2006.
- ^ Amazon. URL accessed on March 18, 2006.
- ^ ProgArchives: Hold Your Fire Reviews. URL accessed on March 18, 2006.
- ^ John Mcferrin's Rock and Prog Reviews. URL accessed on March 18, 2006.
- ^ Donna Halper, and the Rush Discovery Story. URL accessed on March 5, 2006.
- ^ History of Rush. URL accessed on February, 2006.
- ^ Banasiewicz, Bill (1990). Rush Visions: The Official Biography. Omnibus Press. ISBN 0711911622.
- ^ Rush Highlights. URL accessed on March 16, 2006.
- ^ Tour Archive. URL accessed on March 18, 2006.
- ^ 2112 and Ayn Rand. URL accessed on March 16, 2006.
- ^ Moving Pictures Certification. URL accessed on March 16, 2006.
- ^ Allmusic: Roll the Bones. URL accessed on March 18, 2006.
- ^ Power Windows website—Vapor Trails news archive. URL accessed on March 16, 2006.
- ^ Power Windows website—Feedback news archive.
- ^ Neil Peart's Official Website. URL accessed on March 17, 2006.
- ^ Rush Frequently Asked Questions. URL accessed on March 3, 2006.
- ^ Power Windows—A Tribute to Rush. URL accessed on March 3, 2006.
- ^ History of Rush. URL accessed on February, 2006.
- ^ Contactmusic.com—Rush...Latest News, reviews, and interviews. URL accessed on March 5, 2006.
- ^ The Official Rush Website. URL accessed on March 1, 2006.
- ^ About.com: Rush and the Rock and Roll Hall of Fame. URL accessed on March 18, 2006.
See also
External links
Wikiquote has a collection of quotations related to:
- Official RUSH Home Page. URL accessed on March 17, 2006.
- Neil Peart's Official Site (Flash Intensive). URL accessed on March 17, 2006.
- Official Rush Universal CA. URL accessed on March 17, 2006.
- Atlantic Records Rush. URL accessed on March 17, 2006.
- Official Rush In Rio Page. URL accessed on March 17, 2006.
- The National Midnight Star - (Archive Of The First Significant Rush Site On The Web). URL accessed on March 17, 2006.
- Rush Tablature Project. URL accessed on March 17, 2006.
- The Rush FAQ. URL accessed on March 17, 2006.
- The Rush Forum. URL accessed on March 17, 2006. — 2500 members
- Power Windows—a Rush tribute site. URL accessed on March 17, 2006.
- Cygnus-X1.Net—Home to the Rush Image Database. URL accessed on March 17, 2006.
- Rush 30th Anniversary Interview. URL accessed on March 17, 2006.
- Rush Archives—News and Information Site. URL accessed on March 17, 2006.
- Google Groups alt.music.rush. URL accessed on March 17, 2006.
- Rush Radio (Internet Radio). URL accessed on March 17, 2006.
- The National Midday Sun (European fan forum). URL accessed on March 17, 2006.
- The Rush Chronicles (Website and Forums). URL accessed on March 17, 2006.
- Rush at the Open Directory Project
- News section of Neil Peart's website. URL accessed on March 17, 2006.
The content of this page is retrieved from http://en.wikipedia.org/wiki/Rush_%28band%29 under GFDL
