2112

Rush's 2112 proves that, after all, good things can come out of Canada. At least, that's what I'd be saying if I set out in this review to bash Cana ...

2112
Provided By:The Daily Vault

2112
Rush
Mercury Records, 1976
REVIEW BY: Jeff Clutterbuck
ORIGINALLY PUBLISHED: 03/16/2005
Rush's 2112 proves that, after all, good things can come out ofCanada. At least, that's what I'd be saying if I set out in thisreview to bash Canadians. Rest assured I'm not. After all, Canadahas given us luminaries like William Shatner and Jim Carrey, so itcan't be all that bad.
My knowledge of Rush was non-existent until a few days ago.Despite my status as a classic rock aficionado, Rush was not in myvocabulary. It was only through my cousin's mentioning that theywere one of my uncle's favorite bands that I thought to see howthey were. My uncle has been a huge influence on which bands Ilisten to, so if Rush is good enough for him, they would be goodenough for me.
2112 was described to me as a "non-radio friendly" album.After giving it a few listens, it's easy to see why. Forget the20-minute epic that opens the album. The other five songs on thealbum are not your typical three-minute pop ditties. There is anunderlying complexity to each song, however how well the band pullsthem off.
The title track as well as the first song, "2112" is whateveryone remembers this album for, and why not? As far as20-minute, Ayn Rand-inspired, guitar-driven prog-rock epics go,this is one of the best. Where bands like Yes might go off onmeandering instrumental tangents, Rush accomplices the exactopposite. Example: when the main character first discovers theguitar, one can hear him gradually getting better at it; the sameriff is presented over and over, but with more complexity eachtime. The story itself grows in complexity, and there's anemotional connection to the main character. These all lend afullness and richness to a track that when compared to somethingoff Tales From Topographic Oceans, is sparse.

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