Moving Pictures

Once upon a time, there was a very nice style called Prog Rock, that just looooooved to have little musical adventures, going to the jazzy woods one day, sailing over the experimental lakes on another one, or climbing on the back of their friend Hard Rock, the gentle giant of the East, on yet another one of those innocent years from the early seventies. Some mean, mean children mocked Prog Rock sometimes, but Prog Rock didn't care. First because *other* children still liked Prog Rock well enough. But most of all, because Prog Rock was a good-natured, spontaneous sort of style. And in the land of music, as long as all styles were sincere, creative and artful, they were liked well-enough. Once in a while, Prog Rock took herself a little too seriously, that's true. But her heart was always in the right place: all she ever wanted to do was to create a world of musical wonders for other children to enjoy (wonders named King Crimson, Pink Floyd, Yes, Genesis, Soft Machine, Robert Wyatt, Procol Harum...). Who could blame Prog Rock for all that, really? Little did Prog Rock know that the Eighties were looming on the horizon, and that they had sent to the land of music a band of ruffians known as Rush, led by Geddy Lee, the wicked witch of the west. Geddy Lee had a voice like nails on a chalkboard and a brain the size of a pea. But if he couldn't sing gracefully, or write interesting lyrics, he was still shrewd enough to find ways to get what he wanted from the lands of music. He went to Prog Rock and said: "Look at our trinkets, child, and listen to our nice "modern" sounds--do you like them?" "I'm not sure," Prog Rock answered. "But people say I have an adventurous spirit. Maybe I could try them, as weird as they seem to me now. Maybe I could turn them into something good." "Yes, maybe," Geddy Lee replied. "But please, don't overthink it--make the same weird sort of time-signatures you usually enjoy, sure. But don't ever make anything that would be too mesmerizing or graceful in terms of melody. Fill your creations with *stuff*: soulless technical prowess, dumb heavy-metal guitar solos, flashy shenanigans... *That's* the most important thing to do for our masters the Eighties." "The... Eighties?" Prog Rock asked. Out of the corners of her eyes, Prog Rock saw that one of the Rush members was trying to ride on the back of Hard Rock, the gentle giant of the east. Hard Rock was shaking and fiercely resisting. Prog Rock felt a lump in her throat. Something was going awfully wrong here... "What... What are you here for?" Prog Rock asked Geddy Lee. "We're here to make music with you," Geddy Lee answered with a sly pout on his lips. "How about giving me a little kiss, for starters? I'm sure this will make the most beautiful sound ever." "I'm... I'm not sure I want to," Prog Rock stammered with fear in her heart. "C'mon... Just one little kiss" "No." But Geddy Lee had already grasped his hands around Prog Rock's waist: "C'MON YOU FUCKING BITCH, GIVE ME THAT FUCKING KISS NOW, OR I'M GONNA KILL YA" All around him, the Rush members suddenly produced machine guns and started to shoot everything around them. Horrid sounds started to be heard throughout the lands of music. Most of the children were horrified--but *a few* of them liked those tragic sounds, oddly enough. Some of those kids were dumb and mean, as suggested earlier. And among them, a few actually liked shallow and soulless creations. Geddy Lee looked at Prog Rock in the eye: "Give me what I want, or I swear to you, I'm gonna make you squeal..." But Prog Rock resisted, just like Hard Rock did. Mad with anger and frustration, Geddy Lee took out a knife. For one second, it flashed under Prog Rock's eyes. It is said that when Geddy Lee stabbed Prog Rock, a horrid and hackneyed synth sound resonated all around the lands, the same sound that can be heard in the first seconds of "Tom Sawyer": "Tcccccchhhhhhiiioooooooooonk..." And so Rush plundered and pillaged the lands of music. But they were only the *first* harbingers of doom. Marillion came not long after, for instance. And *other* styles in the lands would quickly be violated and emptied of their true meaning, just like Prog Rock after her lifeblood left her when Geddy Lee stabbed her to death. And that, kiddies, is how the Eighties took over the lands of music and murdered several important styles. Other survived and thrived after the Eighties' demise, fortunately. But that's a story for another time, I guess... The end. At least, the end of Prog Rock, sadly. Number of albums left to review: 690 Number of albums from the list I find relevant enough to be mandatory listens: 151 Albums from the list I *might* include in mine later on: 71 Albums from the list I will certainly *not* include in mine (many others are more important): 87 (including this one)

It's fucking Rush. Favorite tracks: "YYZ", "Limelight", "Witch Hunt"

“Moving Pictures” by Rush (1981) I’m only slightly familiar with Rush; never heard this album. I had always planned to listen to more Rush, on the recommendation of some respected friends, but I never got around to it until today. I’m glad I did. This is progressive rock, well structured around the concept of turning what is visual into what is musical. The concept is developed lyrically by pairing the scenes, perceptions, and narratives of the lyrics with sounds that connect well (after a couple of hearings and a willingness to step beyond convention). The lyrics of themselves lack depth, but they accomplish the purpose of holding together this basic concept. Nice use of non-standard time signatures (7/8, 5/4, etc.), executed with discipline and precision. No backing vocals (too bad), and the lead vocal is high pitched, lacking natural resonance, but with excellent elocution. However, the primary thing that makes this album so good is the musicianship of the instrumentals. With only three members, this band produces a cornucopia of highly skilled playing—all three of them showcase their virtuosity on almost every track. If you only have a little time, listen to the first three minutes of “YYZ” (with headphones, of course. Loud.) Incredible execution. Close your eyes; visualize. A very good listening experience. 4/5

I'm so glad someone is taking Spinal Tap seriously.

Rush tends to be pretty polarizing for people. I think alot of it centers around how you respond to Geddy Lee's voice. The other thing people tend to have strong opinions on is the prog thing. I have absolutely no qualms with prog whatsoever. As far as Geddy Lee's voice I don't love it but I don't think it's necessarily like fingernails on a chalkboard either. I feel like Rush is one of those bands people want you to love or hate and there's not much in-between, but that's where I stand. I'd love to do a "my one track mind" episode with someone who's a big Rush fan. Maybe Paul Rudd or Jason Segal? The more I listen to this, I have to admit it's growing on me. I think they had fun making this and I think it comes through in the recording.

Love Rush -- such amazing musicians, each member. This album preceded 'Signals,' and it was during the Signals tour that I saw them in concert, December 1982. Incredible, high energy, fun show. They opened with Spirit of Radio, played Limelight, Tom Sawyer, and other biggies, and did a YYZ encore. I was 15. Saw the show with my good friend, Drew. It was epic!

Whitest music on earth

I’m literally begging for no more Rush.

*Makes myself unpopular* With prog rock I just have this overwhelming sense the musos are trying to be clever, and the fans have a smug belief in their own cleverness, and yet I just don't enjoy it, not even 'Tom Sawyer'. Insert new synthesiser sound here.

When I was in my late teens I had - for some unfathomable reason - all the Rush albums up to this one. I heard this one and now have no Rush albums.

first album in my 1001 albums to avoid before you die

So many hits! What a treat! Everybody in the band was at the top of their game for this album. Prog rock doesn’t get much better.

Couldn't do it, made it about half way through the first track and wanted to jam a rusty knife down my earhole

One of the strongest LP Side 1’s of all time! (and S2 is pretty good too). This album was bonding-glue for my friend group when we were coming of musical age at Worthington Sr High. When Rush broadcast a concert from this tour LIVE on MTV, it was an event so big that even my buddy Craig Trapp’s 19 year-old brother fresh out of reform school joined us to catch the show. Love it all - vocals, guitars and drums work. Neal Peet’s drums on Tom Sawyer are phenomenal, Geddy Lee’s bass can set a mood and Alex Liefson is very underrated. Maybe the best Canadian album ever.

Great album front to back

A glorious album. Starts strong, strong in the middle, ends, ends strong.

Self indulgent prog rock but they are very good musicians

Genre: Progressive Rock 5/5 A total Prog Rock titan, Rush's Moving Pictures is one of the best in Rush's catalogue, one of the best rock albums of the 1980s, and one of prog's best and most complete full-album experiences that the genre has to offer. Full of 80s flair and production elements, Rush still sounds like Rush, as the 3 virtuosos play their respective instruments to absolute pieces. Geddy's voice is maturing into its middle register, and his bass sounds chunkier and cleaner than it ever has before. Lifeson's guitar work on this album is some of his best, full of catchy licks and harmonic pinches, featuring some truly compelling solo work throughout. However, the true driving force behind this album is Neil Peart on drums and lyrics. From the cymbal crashes leading off Tom Sawyer to Vital Signs' fadeout, Peart is eloquently banging the fuck out of the drums, and also providing us with some of Rush's most poignant and recognizable lyrics. From the very beginning of Moving Pictures, we're greeted with what is easily Rush's biggest song, Tom Sawyer. While some may find it overplayed, this is a rock song that doesn't quit AT ALL throughout its run time. We're taken on quite the musical journey in just 5 minutes, as hard rock gives way to technical mastery in the form of an off-time musical break, showcasing Rush's jamming at its ultimate best, and providing us with some truly wonderful drum fills from Neil. As we move along to Red Barchetta, a sci-fi tale with a magnificent soundtrack, then to YYZ, Rush's most concise exercise in self-indulgence and a real instrumental treat, then to Limelight, another hard/pop rock gem from the boys featuring themes of introspection and fear of the unknown, we can all realize we're in for quite a treat. And that's just Side 1. Side 2 is just as captivating. Rush's pop-prog epic The Camera Eye is a great track, featuring some of Rush's catchiest guitar riffs around. Witch Hunt and Vital Signs, two deep cuts that would serve well as some other rock group's lead singles, end the album on a high note, with tinges of tribal and disco music making its way into the equation. It's all so, so good, and a real treat to anyone who considers themselves a fan of rock music. One of rock and roll's biggest and best musical statements. 

This album is a classic and definitely deserves it’s spot on the list.

Limelight Exposition of Sonus, when instead of Moving Pictures you are actually Keeping Captures. This album made me a fan, so Rushium love starts and you must admit, the rest it's history, it was the first record of them in the list, so my headstart. Cycle, it's like the music never stops or you can't describe which one is better than the other, because they're connected in some way, like when you're looking at paintings and the colours and textures mix all your senses in an image, in that case a sound. Amount off quality, it needed only 7 pictures to fulfill their needs at the time, so it required only a colour to paint the town red. A+

I didn’t realize how much this album had been in my life. I mean obviously Tom Sawyer kicks ass and is the go to Rush song for most people. There are so many other stars on this album though; YYZ, Limelight, and everything else. I love Rush’s obsession with clean and tight lyrics too. Every part of this album has meaning and creates a total vibe. “Neil Peart stands alone.”

Musicianship is outstanding, def a 'musicians band'. Alot of 80s feel with the synths used but it's still rock at it's core. The song YYZ was a big showmanship of all 3 of the musicians, all top of their game. I'm not a huge fan of Geddy's voice so can't see myself digging into the band too much besides the hits.

Meh

despite the high energy of this album, i found it quite underwhelming.

What a hot streak this week as been (as soon as I say that, I'm sure I'll curse us to get Tom Waits or some other garbage tomorrow). Rush, and this album in particular, has been in my life for quite some time. Getting into classic rock when I was younger was a blast, and I was very impressed by Rush for the quirky song structure, Geddy Lee's goofy vocals, and the fantastic musical ability on display, especially from the LEGENDARY Neil Peart on drums. But let's not forget Lifeson on guitar and Lee on Bass; both are extremely skilled as well. I know tracks like Tom Sawyer and Limelight like the back of my hand. Other bangers on here too, but I will say that the album does not close as strongly as it opens. The last two tracks lost my attention a bit, but the other five were all tracks I really dig. I love this album dearly. If I were being completely objective, I'd have this just shy of the coveted five-star rating. But we're talking about art here, how can anyone be objective? This is the third five I've given this week, with just one 4.5 in between, so the list has been good to us. Crossing my fingers we don't get trolled with some retaliatory bullshit tomorrow, like a lost live Who album. Favorite tracks: Tom Sawyer, Limelight, YYZ, The Camera Eye, Red Barchetta. Album art: Very punny. Is that a baby on the ground? No, it's actually some lumpy groceries. The art being moved is funny--Joan of Arc, the Rush pentagram logo, and dogs playing poker. The framing and red text is excellent too. Love this one. 5/5

Not every Rush album is an auto 5 stars from me, but Moving Pictures definitely is. Even on a list of 1001 "must listen" albums, you'd be hard pressed to find many albums with the powerhouse opening line-up of Tom Sawyer->Red Barchetta->YYZ->Limelight. Tom Sawyer is a bit overplayed at this point, especially on "classic rock radio", but JUST LISTEN TO IT. IT IS SO GOOD. Red Barchetta is the most emotional rock and roll sci-fi ballad since Queen's '39. It makes me, ME, care about a car. YYZ is Rush's best instrumental in their entire catalogue. I've never been to Toronto Airport, but I assume that it feels like this. Limelight rounds out the first side and is quite bitching. The rest of the album is not as good, but is still very solid. I think a more objective Jon would drop a star for the indulgent Camera Eye, but the first side is just THAT good.

My views are quite generous for this album, as I've never heard anything like it. And I'm getting surprised by the fidelity of remasters. Overall, this album sounds great; it has a mix that I've never heard before in rock, where the bass is the most prominent element throughout most of the songs. You've got very melodic bass lines (with that vintage 80s distortion that makes the song feel thick even when there's pretty much just drums and bass) that overshadows the electric guitar/s. And you've got a vocalist who jumps in and out but has very little "lead" in the song, as he's lower in the mix. He's a good singer but never pushes himself in these tracks (sticking to a condensed vocal register? Maybe some more long high notes or something would improve it), and he shows off the least out of all members. I'd give this one a 4.5 and will round it up to a 5. I want to leave headroom for something with a bit more variety and that matches my tastes more, but admittedly "YYZ" has some of the best technical rock bass I've ever heard, and I like every song on this album. Not to mention that moment in "Tom Sawyer" where they reference Space Invaders and then switch to a 7/4 synthy Atari melody, and subsequently hearing the bassist nail that melody afterwards really hits my tastes, and encapsulates the combo of sounds that I like about this band. Shout out to "Vital Signs", my second favourite song on here.

One of my favorite albums ever and one of the greatest prog rock albums of all time. Pretty much perfect. Honestly, Tom Sawyer is the weakest song on the album and it's still pretty good. 10/10 1. Red Barchetta 2. YYZ 3. Limelight

The prog rock era of the Holy Triumvirate is my favorite. I don't love the hard rock years, and I don't have a lot of use for the Ayn Rand tribute era that preceded this one. The balance of this album is perfect. A couple of rock solid hits, one of the best instrumentals of all time, and a double song track for the math rock nerds, all in 40 minutes. Incredible. Best track: Limelight

Complicated rock Expertly played That makes you feel nothing Except a desire for him to stop singing

Rush’s guitar riffs are so dumb. You can tell Alex Lifeson hates playing rhythm guitar, his rhythm parts are lethargic and chunky, devoid of any nuance. Stereotypical lead guitarist mentality, tons of flare on leads, but rhythm parts played so boringly that it feels like checking a box. But it’s not just him, this entire band plays in a cold, clinical style in order to show off their technical prowess and their songs end up devoid of any urgency or emotion. Fucking Asia is more enjoyable to listen to…and I cannot stand that band.

If you have to include a Rush album in a list like this, Moving Pictures is a bit of an odd choice--it marks the exact moment that Rush started to curdle, both lyrically and musically. Lyricist/drummer Neil Peart had been an Ayn Rand enthusiast since at least Hemispheres, but at least the objectivism on The Trees from that album was couched in a clever and picturesque fable. On Moving Pictures, we get couplets like "His mind is not for rent to any God or government" and "Everybody got mixed feelings about the function and the form; everybody got to deviate from the norm." It's bald speechifying, and hasn't worn well after 40 years of neoliberalism. Musically speaking, back on Permanent Waves, synths were used for flavor, and added a welcome futuristic sheen to the music. On Moving Pictures, they fight for dominance with Alex Lifeson's guitars, which is bad news since Geddy Lee is a bassist, not a keyboard player, unlike John Paul Jones from Led Zeppelin. After Moving Pictures, Rush went over to the dark side, becoming for all intents and purposes a keyboard based rock band. But, as I've alluded to, Moving Pictures is a transitional album, and since Rush's previous album was the masterful Permanent Waves, they were still capable of great music. The clear highlight of Moving Pictures is Limelight, a paean to stardom and its appeal. Everything comes together on this track. Geddy Lee does full justice to Neil Peart's evocative lyrics. Yes, I know he sounds like a guinea pig on speed, but he isn't afraid of the emotions in this song--it's a very generous performance. Alex Lifeson gives a guitar solo for the ages here, creative and passionate. I can't listen to it without getting a lump in my throat. And Neil Peart plays the hell out of his kit with his patented thundering and technically immaculate fills. But the rest of the album? Meh. YYZ is just okay compositionally, and the solos are nothing to get fired up about either, although Alex Lifeson's spot ain't bad. Tom Sawyer is vastly overrated, with awkward and bludgeoning lyrics and music to match. Red Barchetta is juvenile and boring. Even the epic The Camera Eye is dull, with themes that fail to engage on either an emotional or intellectual level. Witch Hunt is an outright disaster, a micky mouse attempt at social commentary. Actually, going into this review, I had mixed feelings about Moving Pictures, probably colored by how much I love the song Limelight. Revisiting Moving Pictures, I find that it's not very good at all. Disappointing.

If you haven't already listened to this, I am so jealous that you get to listen to it for the first time. Put it on the best speakers or headphones you have access to, turn it up as loud as you can tolerate, and enjoy.

Typically listen to exit… Stage left when I listen to this music from Rush. This album has a very pure musical quality to it. Each instrument is played to the upmost. And even with the other virtuosos, it’s hard to overstate how amazing Neil Peart is.

I think this might be the best week have had so far with these albums. Nothing lower than 4 stars all week and two five stars in the bunch, this being one of them. Moving Pictures is one of my favorite rock albums, something I jammed to in the car all the time during high school. From Tom Sawyer and Limelight to lesser known Red Barchetta and Camera Eye. They Even throw in the instrumental YYZ as well. And sitting at 7 songs for the album is very bold of them but also makes it more special. Getty killing it on base and vocals and Pert rocking the hell out of the drums. Rush gives me a Rush and I think Moving Pictures is my favorite album of theirs. I just realized today, though, that the album title is about actually moving pictures and not movies.

Heroic drumming - I would have sworn that was Phil Collins if I didn't already know it wasn't. Whoever it is, I bet he was great at maths in school - that's a guy who really knows how to count. On reflection the vocals are also interesting - I have no idea what any of these songs was about because I couldn't decipher any of the lyrics, but they sounded quite earnest. I absolutely loved lots of little individual sections on lots of tracks - in particular on 'Limelight' and 'The Camera Eye' and.. ..come to think of it, pretty much every track - but when you put the whole thing together it's just a mess. It shouldn't be that complicated: just decide what the sodding song is going to be, then play the damn thing! There's no need to try and cram 12 songs into every track. Yes, I know that's the nature of Prog Rock and it's almost 50 years too late to point out the absurdity of it now, but, come on, nobody really likes this, do they? It's mad. Great technicianship (as opposed to musicianship) and all that, but you can't whistle these tunes, can you? Well, there you are then. If you absolutely must listen to Prog then Genesis is the only sensible, musical, intelligent option available - and even so, you're on thin ice. Oh god, after Led Zep II, this is easily the best so far. Streets ahead. I'll take this to a desert island over the White Stripes every time. I loved it. No, really I did, despite neither expecting nor wanting to. Playing it again now. Maybe one day I'll understand some of it... but if I don't, there's still that heroic drumming... utterly brilliant. Please sir, can I have some more?

Tom Sawyer, excellent rock and synth fusion. Classic. Red Barchetta, nice and calm storytelling. Ballsy for the 6 minute runtime. Progressive at a nice pace and the mix is incredible. YYZ, the Archer song in my eyes. That intro bell isn't the most soothing sound but the drums really do make this song explode. Fun instrumental. Limelight is a very radio friendly song. Dipping and emerging from the hook more often, than not throughout. The Camera Eye. 11 minutes. Starts off as a post-credits song, then the vocals come in at almost 4 minutes to defuse the façade and return it to a story format. Not long, before they come back into instrumental world territory though. Calm song for the majority, but 11 minutes of popping up and down on the energy scale...hmmmm. Witch Hunt, a very different track to the rest of the album. Almost like a boss battle anthem, progressive and epic. Ending song also feels like something that Rush would write. Brilliant album overall. Love it.

Entertaining, iconic and tasteful.

Fun easy album to get through. 40 minutes fly by. I only knew 2 songs going into this album but loved every song. Rush has always been one of those bands that us "Band Geeks" talk about with their very weird time signatures. Definitely recommend.

Neal Peart stands alone. I don’t want to look ahead, so I’m giving this a 5. It deserves it, but this 5 will be lower than 2112 or Permanent Waves. But again, that’s just in relation to those albums, it’s a 5 against any other band

One of my top ten albums!

didn't listen to much rush when I was young, but definitely had bursts of interest. Discovered how much I loved their style and influence as i got older and revisted. The first half of this album is all bangers. The second half is more experimental, but it feels real Rush and real cool! Just the deeper cuts. Love this album, Love geddy Lee, love these weird Canadians.

Legends

RIP

A really really good prog record

Grew up on hard rock - in the 70's -- 80's. Never had this album, but it was a classic and holds up. I don't know why, but I'm going up to 4 based upon product value and its place in rock lore.

A lot of classic songs in here. Great writing and fantastic playing. I think the only thing that keeps me from giving it a 5 is that it sounds really dated

I thought it was fine...my wife couldn't get through any of the songs...

great set of tunes

Spinal Tap/Trailer Park Boys vibes

Did I just play Guitar Hero or Rock Band? It's really hard to listen to this album and not pretend to press buttons on a plastic guitar. It's also near impossible to see this album outside this frame.

There wasn't much in this album that truly gripped me. The most enjoyable part of Rush is the interesting mix of synths and guitar, which are unfortunately let down by the monotonous voice of the vocalist. The first half of the album is the most interesting, thanks to the apparent favourite opener "Tom Sawyer" and it's follow up "Red Barchetta", these are probably all you need to hear to get a gist of what Rush is all about. The next song "YYZ" stood out to me because the instruments took the limelight (ayy) in this song due to no vocals. The best part of the second half is "The Camera Eye", but arguably went on a tad too long. It could have stopped 7 minutes in and it would be still as good. I feel the vocalist could potentially have been saved by some better mixing, as his voice melts in to the background and doesn't really get an opportunity to punch through the overshadowing instrumentals. I admit that I enjoyed this album a bit more on the second play through, which historically has been how some of my favourite albums have started out, so maybe i'll be a Rush stan soon. For now though, I found this album mostly "meh". 2/5 on first play through, a light 3/5 on the second round (with rice)

I really tried with this one, but Rush are just a collection of total gimps. Gimps who can certainly play their instruments, but their asinine humour combined with a pathological compulsion to muck about with time signatures undermines any musical or lyrical coherence they might be capable of producing (though they’re pea-brained Randians so I didn’t have high hopes in the first place). This is especially disappointing since when they do play things straight, they come out with some decent power pop/80s fm rock. Alex Lifeson’s guitar playing is a particular highlight also, but it’s the constant buffoonery from Neal Peart on drums and Geddy Lee’s twinky voice that irk me like few other bands. The cover really sums everything up - about as subtle as a Roy Walker joke, and half as funny. With the 80s picking up steam, this album was Rush’s attempt to keep up with the times and embrace the new wave of sounds coming through. It has aged rather poorly, like if Devo had an over-inflated sense of their talents, but without even the quirky satire that makes their music so fresh even today. Prog is shite, in other words.

I just…don’t care

Headbangingly dull.

just not in the mood for rush, really i mean wtf

Id heard off them, but had never actually heard them. Great music, good vocalist, great drums. It carried a nice fantasy-esque ring while still being hard rock proper. Going into my regular listening list for sure

So great.

Always thought Rush was for nerds, but I loved this album for the drumming alone. So many subtle little touches, combined with big grandiose drum rolls and double bass kicking. This whole album is insanely tight, and though I know what some people mean when they say the technical focus leaves them cold, in the case of most of these songs, I think the virtuosity actually serves the song and lifts it to another plane. There’s a cheesiness to rush, and Id never say they are great songwriters or anything like that, but their utter mastery of their form lifts this album out of 80s schlock and makes it something special. Even the weirdo time signatures don’t feel indulgent to me; they make each song a more engaging listening experience. Was air drumming through the neighborhood while walking the dog.

This album is overflowing with prog rock greatness. The wiki made it clear that the band was super tight after 10 months of touring Throw out Tom Sawyer, Limelight and YYZ (the radio hits) and youre still left with an incredible album Red Barchetta was amazing. Peart’s fills and constantly changing beats are so fun to focus in on. Lifeson had some super rockin tone on this track. New track for me Vital signs is probably the weakest on the album - sounds like a Police song. Surprised they wanted to make that a single 4.9 out of 5 😂

Obligatory slap-a-the-bass-mon. I didn’t come into this with any super strong feelings on Rush. Have always been prog rock curious, and like that Rush seems a little goofy too, and excellent musicians. This album has all of the Rush songs I know. Limelight is always my favorite, but liked Camera Eye as a new one to me. Vital Signs was the only dud. Was honestly surprised by how short these songs were for the gods of prog - packed a punch.

10/10. This is one of the most exquisite albums of progressive rock, and of Canadian music. As a Canadian, I am really happy to share a country with the beast that is Rush. I'm a sucker for odd time signatures. The drumming is incredible. The guitar is awesome. The bass is amazing. I love the vocals. Rush is goated!!! :)

Yes

Generational album right here. Maybe a little front loaded, but I’ll be damned if it’s not got one of the best 3 songs to open an album with. The vibe is so clear here throughout, a total time capsule of an album. Red Barchetta is so clearly a song about a car even without knowing the title or hearing any lyrics. It’s got the Splash Wave from Outrun thing where it’s almost got a countdown built in to it as you start driving & then the core of the song hits right as you turn into a beautiful view. Iconic is a word I’ve been trying not to use much here, but if there’s an album to drop it on this is the one.

Going into this I was worried it's actually a 4 cause in my head the album is front loaded. (It is, but) the only reason I think of it as front-loaded is because those first 4 songs are all Rush at their absolute best. On revisit I am sad to report I have been grossly neglecting Witch Hunt and especially Camera Eye, though Vital Signs is still kind of a weak ending to the album. With most of this album being a new 80s sleek sound for Rush I think Camera Eye here sounds the most Rush-like so coming back to it again has been excellent. This album isn't just sensational but I'd argue, moreso, inspirational. Peart, Geddy, and Lifeson inspired generations of people to pick up instruments because of this album. Hell, I still want a Rickenbacker because of this. I'm not gonna pretend I can perfectly play YYZ but every time I have sat down at a drumkit I have tried to play that song every time, granted with at most half of Peart's kit. Highlight: Camera Eye

Rush is a polarizing band but it was this era that I think was the most accessible to anyone, not just those of us that like a lot of technical musicianship and men with high pitched voices. The first 4 tracks are all classic Rush songs, staples of classic rock radio, and ultimate Dad Rock anthems. Not even the mangling of the pronunciation of "barchetta" by Geddy Lee can make me annoyed by any of it. I love that that song in particular is unashamedly nerdy. It's based on some random work of sci fi writing about a future where gas engines are eliminated and the cops chase you around in flying cars to stop you from polluting. Just pure dork shit. The last three tracks are less in your face, and "The Camera Eye" in particular is one of those songs where the three of them just give in to progressive rock moves and keep playing on and on and on. Not a bad thing when you're this talented, but not for everyone. This might be my favorite Rush album but I wouldn't put all the tracks on my personal greatest hits collection. That's one of the great things about Rush - their sound evolved without too much deviation from themselves, so you get the various eras of the band throughout their insanely long career while knowing that it couldn't possibly be anyone else. Anyway I obviously liked this. If I could give a 4.75 I would, but I'll round up.

Hells yeah, I have been looking forward to this. I am a fan of tool but I know Rush is like the grand-daddy of prog-rock

Classic progressive rock album. No skip album. A lot of people may claim bias, but honestly I never grew up with rush. But if you like progressive rock, this album has it all. It’s got my two of my most important aspects of an album, it’s relatively short, and most importantly, it’s got variety. If someone had never heard of rush or progressive music, this would be the album I would give them.

An optimal example of the proficiency of Neil Pert, the hard hitting drums drive this album. Also Geddy Lee's best vocal display (in my opinion). This truly is the quintessential Ruush album.

Previously rated: 2112 (4/5) ********************** It's got several radio hits and some good deep cuts. It's hard not to like unless you hate Geddy Lee's voice (understandable) or the Libertarian-ish lyrics.

The thing I admire most about Rush is that they were never afraid to try new stuff. You get such a fresh twist on typical dad-rock music with all the added synth textures, guitar effects, genre infusions, and incredible technical songwriting. I think that's what really makes this record shine. You get these three amazing musicians, all pushing the boundaries, and creating something far greater than the sum of its parts. It feels new, and ultimately timeless. Did anybody else ever play All-Pro Football 2K8? No? That's where I first heard Rush. Tom Sawyer has been one of the greatest songs of all time since then. It's a rite of passage for all 10-year-olds in my book. Listening to this, I was just absolutely captivated once again when that first synth stab hits. I've heard most of these songs before, and they still were so fun to revisit. 10/10

Pristine prog rock from the undisputed Kings of the genre. What else is there to say about this one?

Like meticulous cinematographers, Rush frames each track on Moving Pictures with impeccable technique and artistic vision—creating an album where technical wizardry serves storytelling, and seven distinct compositions form a singular, cohesive masterwork.

I love this albumm! all the songs are good my favs are limelight, the camera eye but theyre all good

Tom Sawyer is such an upbeat yet calming song. Truly perfect for all situations. 10/10 Red Barchetta is a fun dancing song, I can totally see it being played at school dances in the 80s. 10/10. YYZ is definitely one of those songs you “air drum” to. And I am SO here for it! 10/10 I don’t know how to explain it but Limelight gives off Surender x Under Pressure vibes. I am LOVING this man’s vocals. 10/10 The Camera Eye is slow at first but picks up BIG TIME. Worth the ten minutes 10/10 Witch Hunt gave cool magic vibes and I was here for it 10/10 Vital signs had a techno beat and it reminded me of a song that would be in TTG. Lowkey digging it. 10/10 5/5

Fantastic from start to finish

One of my favorites ever. Perched in the perfect place between long-form artistic ‘70s and pithy, synthesized ‘80s, this masterpiece never gets old. I won’t lie, it took me a long time to get Rush, but once I did I realized that I had been transformed forever.

Absolute banger. I can't really say anything bad about this album in all honesty. The guitar tone is good - sounds a lot like Dream Theater - the bass is absolutely fantastic and the riffs and solos are even better. His vocals are decent too - one of my favourite prog rock albums for sure. Standout tracks are Tom Sawyer and YYZ

Come on man

Great and historic

Awesome album, moving pictures is iconic and has tons of great songs

This is genuinely one of my favourite albums ever, and I don't care if that makes me biased - these guys are Canadian royalty for a reason! Some great arena prog rock, with offbeat storytelling and sheer technical mastery on each instrument, what's not to love?

a childhood favourite band...

Love it.

IRON CLAWWWWW

This is a very good album, not a single dud though I am reminded of Johnny Akins from the goldbergs 5/5

Like a fine wine (nod to Gary/Geddy), this fine piece of craftsmanship only improves with time. All 3 musicians continue to improve and expand, it’s hard to believe 3 guys can create and replicate this live! The writing is solid, incredible bass lines, amazing guitar, and unimaginably sophisticated drums. Neil’s lyrics just keep getting better, how do they do it? Highlights for me have always been: Red Barchetta, Tom Sawyer, and YYZ (Toronto’ airport call letters) just blow me away.

My favorite Rush album. A bit front loaded but so good overall. Side 1 is basically all hits. YYZ and Tom Sawyer plus Limelight and Red Barchetta.

superb. epic game changer. the first record I bought with my own money in 1981. rode my bike 2 miles to buy it at peer records. iconic instant classic.

Three virtuoso musicians at their creative peak. "The Camera Eye" goes on a little longer than necessary, but other than that, there is not much to criticize.

this is peak and if you disagree you are no fun

Every track is a classic

What a classic

Solid from start to finish with a few of their best in between.

I loved it in the 80s and it hasn't faded a touch in the two score years since.

The album that put them on the map. Side A is probably one of the five best album sides ever.

Love the first song, excited to hear more on my drive. absolute bangers all the way, for sure a relisten.

Side A might be the greatest album side of all time. Side B ain't too shabby either. If you don't like Rush, you're suspect.

Amazing album a classic rock must listen. Rush lays down iconic vocals strong instrumentals and creative writing in a masterpiece of work 9/10

"Moving Pictures" is the eighth studio album by Canadian rock band Rush. The album was produced by Rush and Tony Brown who was also involved in the songwriter. The resultant songs had music with a more radio-friendy sound and more concise and direct lyrics. Rush is Geddy Lee (bass, synths, vocals), Alex Lifeson (guitars, synths) and Neil Peart (drums, percussion, lyricist). The album had positive reviews and commercially did well hitting #3 in both the US and UK. Drums and a synth drone open the album on their signature song "Tom Sawyer." A deep bass, Peart's drums and a great guitar riff come next. There's a guitar solo, a fast-slow dynamic and a Peart drum onslaught for the outro. Peart took the literary rebel Tom Sawyer character motif and translated it to the purpose of the lyrics which is that there is a difference between what you see and what you really are. Alex Lifeson's high pitched guitar keys start "Red Barchetta." A melodic bass and guitar. They use that fast-slow dynamic in a song based on a short story about drving a fast red barchetta car and getting chased by the police. Nice detail in making the music sound like a car in spots. "YYZ" is an instrumental song named after the Toronto airport designation. This is a good song just to check out the dynamics of Neil Peart on the drums. The first side ends with "Limelight." A terrific guitar riff. It's melodic, catchy and definitely their most radio-friendly song. Peart wrote this about himself and his dissatisfaction with fame. Lots of little detailed references about Rush. "The Camera Eye" opens side two. The longest song at 10 minutes and split into two parts. The first part is mostly instrumental. The second part sounds a lot like "Red Barchetta." The lyrics simply talk about walking through NYC and London. Bells, an ominous synth and a heavy guitar start "The Witch Hunt." This is the third part of the Rush Fear series of songs with the the other songs on different Rush albums. A fantasy-like story about manipulating a mass of people by fear (Salem witch trials). The album closes with one of their more underrated songs in "Vital Signs." A synth sequencer and a slight reggae-sounding guitar. Well, the Police were big at the time. Lee with wobbly bass slaps and his most impassioned singing on the album. Sometimes you need to deviate from your norm. The first side of this album is one of my alltime favorite rock album sides. Even though I've listened a lot to this album, by doing the background research and ensuing listen, i have a much better appreciation of the second side specifically "Vital Signs." The band never sounded better. For the most part, the songs are tight with no excess. The drumming and bass are spectacular. Lifeson's guitar riffs are the best of his career. They continue their expansion into synths and it works. This is also my favorite Rush period with "Signals," "Moving Pictures" and "Grace Under Pressure" with this particular album being the apex. A classic rock album.