Rush – Hemispheres Reviews


Smart rockers Rush were just on the brink of being embraced by the album rock mainstream when they recorded Hemispheres. Already wildly popular with a certain corner of the intellectual crowd, thanks in part to drummer Neil Peart’s Ayn Rand obsession, this CD marked a turning point for the Canadian trio. Hemispheres explores the political, social economic, and sci-fi themes prevalent on their early work, continuing the saga of “Cygnus” from A Farewell To Kings. Rush was fond of wri (more…)

12 responses to “Rush – Hemispheres Reviews”

  1. Urja says:

    Since the closing of the album Rush classic progressive period, this is possibly the album in which they reached their climax in the composition and concept. From 1976, _2112_, and up to this album from 1978, you can see how the band performance & writing had progressed.
      The word here (or rather the focus of Title) deals with the conflict of reason (the left hemisphere of the brain) and emotion (the right hemisphere of the brain), and the consequences of lack of equilibrium between the two. It is divided into six movements: each (with the exception of the closing movement), represented by a mythological figure, is correlated with the nominee psychological / behavioral characteristics associated with each one.
      The musicality here is almost flawless and breathtaking as the band is almost orchestral music play – only in a hard rock / metal frame. I could title this piece arranged for an orchestra. The first sentence shall kick plays as an overture: the subtle insight into what appears in the later moments. It breaks open with an F # 7 sus 4 chord of Alex Lifeson, followed by a full band interplay, which then plays into the typical pattern – albeit with some unexpected chord changes. Shortly after, Lifeson plays guitar some ethereal arpeggios, then abruptly turns the atmosphere with a near-diatonic scale reef in descending mode. Later, Lifeson plays more wispy, atmospheric arpeggiated riffs, which are later followed by the band plays hard rock mode, and not to forget Geddy the infamous “scream.”
      The second sentence referred to Apollo: bringer of wisdom opened that with decreasing of Alex Lifeson riff to the first sentence. Then turned into a 7 / 4 Smorgasbord Geddy by the majestic vocals, Alex's crisp and complex chords and big drums Neil Peart and poetic texts. As the title of the motion suggests that the texts deal with the side of the brain, the logic and necessity. The third sentence called Dionysus: Charms of Love is pretty much exactly the same musical phrasing of the second sentence: The same 7 / 4 rhythm, the same chords and progressions, singing the same rhythm, and much more. The only difference this time is to shift the text to talk about the side of the brain, emotions and overall subjectivity.
      The fourth called Armageddon: The Battle for the heart and mind open in a very difficult rhythm (in 7 possible.) It is a peculiar great features that are a devastating and powerful reef Lifeson from before brings his vocals Geddy screams. The fifth named Cygnus: bringer of balance begins with the closing chords (C minor – Eb minor – E minor) of “Cygnus X-1″ (from _A Farewell Kings_), perhaps the listener a sense of continuation from where the above title. A few moments later, there are a few weak audible snippets of “Cygnus X-1″ before the Geddy is a restless and haunting vocals set against a lush bed warm synthesizer. After that the track constantly builds in intensity Sonic, before closing at an explosive finale. The sixth, which is called the Sphere: A Kind of Dream discuss how it would be if one can achieve mental and emotional equilibrium. Geddy a decent vocal performance, as Alex Lifeson has some nice strumming chords, which sounds like a 12-string acoustic guitar.
      “circumstances” is a short rocker, covering topics such as alienation, introspection and coming-of-age. These are topics that would be more on future albums immensely. Alex Lifeson playing some unexpected chord progressions here. And for the beginning of the chorus, he draws a fascinating, complex and cerebral reef, which is then followed by the commands Geddy vocals, which are sung in English and French. There is a short instrumental section, with more wispy Arpeggios from Lifeson, nice drum fills from Peart and Geddy's always moving basslines. The course then concludes with the choir.
      “The Trees” is a track on the inequality, as many other reviewers. It starts with some Spanish-like guitar arpeggios, followed by a singing star of Geddy Lee. Then turns into a straight-ahead rocker in front of the instrumental middle section kick in. In this section, there are more than atmospheric arpeggios expected Lifeson, exotic percussion, and some orchestral playing later. Every musician seems to be based on his respective instrument. The path ends at a Hard Rocking observed.
      La Villa Strangiato 'here is the instrumental, the instrumental chops of the individual musicians. The piece is subtitled “an exercise in self-pleasure,” although I do not necessarily call it self-indulgent, which is out there, as I've heard many other things that I would label themselves lenient long before I would that the ownership of this. The fun is trying to decipher the movement, which, as this piece is divided into twelve different movements. It begins with a Spanish-like guitar (followed by a frenetic solo) from Lifeson, before he shows his signature evocative and inventive arpeggios, which are then followed by a line joining the synthesizer. Later, the band cranks it with fiery Game & Solo, quirky / humorous atmospheres and complex drum fills, jazzy bass lines and other Assorted Goodies.
      The album offers brilliant musicianship, intelligent lyrics and melody. If you ask any of the above things, how can you wrong here?

  2. Gustav says:

    5.0 out of 5 stars
    How do you feel about prog rock ?
    If you like it , then this will be right up your alley . If you don’t , then you best stay away . We’re talking 18 minute long songs here .

  3. Micaella says:

    4.0 out of 5 stars
    After a Farewell to Kings
    “2112″ and “A Farewell to Kings” are two of my 50 favorite albums. This album was made after those albums.

  4. Anonymous says:

    Not that I begrudge Rush their huge success or anything, but I really liked liked them back before they became popular.
      _Hemispheres_ is one of my old favorites from that time. Following the publication of her next album (_Permanent Waves_) can not be attributed to a FM station without hearing “The Spirit of Radio” or “voluntary”. These are both great songs, but because of their frequent airplay they are very strongly associated with this time: If I recalled that I can have a ready guide in some celestial voice, I close my eyes, and suddenly is in the Reagan White House again .
      But I can not remember anything from this album has a real transmission. And in a way which is nice because I can hear it now _without_ back to my students year of High School.
      And I can listen to it. _Hemispheres_ Has many good things about them.
      course there is the “rock opera” track on which the title refers. Supposedly, it is the second “book” of a piece started _A Farewell to Kings_ (these guys are always split into suites albums) – and for better or worse, it's also the man who is sucked into the black hole in Book I . But thematically, it's a little revision of some Nietzschean ancient mythology (particularly Greek, but the Christian Armageddon is there too), to articulate the need for a proper balance between reason and feeling. It is a little shorter (and I believe more stringent) as the title track from _2112_, but very much in the same direction. (And it shows lyricist / drummer Neil Peart step a bit further away from his Randian roots for Ayn Rand, was feeling due to the firm and that was subservient, dass)
      The remaining three tracks (which used to occupy “page two” on the original vinyl release) is very nice and, and (to my taste) better than their counterparts at _2112_ . Probably the best known is “Trees,” an anti-egalitarian parable (along the lines of Kurt Vonnegut's short story “Harrison Bergeron”), which does not pretend to offer a simple solution to the problems between the “oak” and ” Maple, “but warns against a horrifyingly destructive _false_ resolution. “circumstances” is classic rock Rush, and “La Villa Strangiato” (described as “an exercise in self-pleasure”) is one of the last three of the extended instrumentals ( “YYZ” on _Moving Pictures_ it was until ” , Where's my thing? “in 1991 on the _Roll the Bones_).
      These guys really have to sharpen their “PROG” edge here as well. Guitarist Alex Lifeson has a whole new sound, and bassist / singer Geddy Lee was clearly on his chops are. They play around with some meters, and nearly every third or fourth measure contains some unusual number of shots (usually prime: five, seven, eleven (5 | 6), also twenty-three (5 | 6 | 6 | 6) on the first part of the instrumental break on “circumstances”).
      I take all Rush fan probably has this already. If you are new to the band, this is probably not the place to start, you probably either _Permanent Waves_ or _Moving Pictures_, or perhaps _2112_. But to focus on this, if you have a chance, it's some of the best music you've never heard.

  5. Iowa says:

    5.0 out of 5 stars
    Unlike anything I’ve ever heard before
    When I first heard “Hemispheres” as a 13 year old in 1983, it was unlike anything that I’ve ever heard before, and 25 years later, the album still has that effect, as few songs…

  6. Viviana says:

    5.0 out of 5 stars
    Perhaps my favorite Rush album
    There is just something captivating about this particular Rush album that leads me to listening to it on repeat for hours on end during my work day.

  7. Tvuna says:

    3.0 out of 5 stars
    Let’s call it 3.5 stars.
    So let me get this straight…Cygnus pops out the other side of the black hole finding himself stuck between Apollo and Dionysus with the duty of bringing balance between reason…

  8. Chitt says:

    5.0 out of 5 stars
    Rush’s best 70s work
    I think that Hemispheres is Rush’s best 70s album, and definatly one of the best records thay ever made.

  9. Philander says:

    5.0 out of 5 stars
    Rush at its best!
    This is when Rush got everything really together and still hadn’t stopped for too much polishing. An amazing feat as Hemispheres takes you on a great journey through ancient…

  10. Emilie says:

    5.0 out of 5 stars
    A solid effort once again for Canada’s best
    Four Songs. For GREAT Songs. For INCREDIBLY Great Songs.
    You realize I could go on forever, right? Anyway, Every song on here is a success in every way.

  11. Zeus says:

    5.0 out of 5 stars
    Masterpiece, Book II
    As a follow up to Farewell to Kings, Hemispheres is everything it could possibly be. The two albums are linked not only by release dates and progressive creativity, but also by a…

  12. Ujana says:

    5.0 out of 5 stars
    Vintage Rush
    In the early days of high school I had to scrounge for tapes of albums, mainly because I didn’t have a job, therefore no money.

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