Rush
A Show Of Hands

THE REVIEW

The Canadian band Rush is a trio with undeniable technical and compositional skills, and in this excellent 1988 live album, they provide a brilliant demonstration of them. It's no coincidence that the great bassist J. Berlin would dedicate an emotional piece to the three members of the group. The band was formed in 1968 in Toronto and consists of Geddy Lee (bass guitar, synthesizers, backing vocals), Alex Lifeson (guitars, synthesizers, backing vocals), and Neil Peart (acoustic and electronic percussion). The musicians have a distinct personality, and Peart writes the lyrics, which often vary from mythology to science fiction and are influenced by the individualist philosophy of American writer Ayn Rand. It is important to note that as the group transitioned from the '70s to the '80s, they progressively moved away from their progressive compositions (sorry for the pun) to embrace a personal vision of art rock and hard rock. Despite everything, the compositions are quite valid and probably the decision of the three is driven by a well-defined musical exploration that attempts not to focus on a specific genre but aims to "evolve" towards new expressive forms. Thus, the '80s present the group with more "simple" and immediate musical structures that are in step with the times.

This excellent live recording is superbly captured and features the band during concerts from the Hold Your Fire Tour of 1988 in Birmingham, UK, New Orleans, and San Diego, and the Power Windows Tour of 1986 in Meadowlands, New Jersey. The strength of this live album precisely lies in the remarkable sonic cohesiveness and harmony of the three musicians, apart from the phenomenal drum solo "The Rhythm Method" by Peart, the rest of the songs come across as a team effort. There are certainly solos from various instruments, but they are all meticulously calibrated and perfectly executed. All tracks are sung by Geddy Lee. "Big Money" immediately kicks off the concert with engaging and assertive melodic lines. "Subdivisions" features slightly gloomy vocals and sounds, with Peart's drumming providing substance and rhythm to the entire track. "Marathon" is among my favorite songs, and once again, Rush demonstrates what they are capable of creating even in the '80s. "Manhattan Project" is simply fabulous, with Lee's vocals showing no signs of faltering in vocal range. Undoubtedly another highlight of this concert. "Mission" is a little masterpiece of sensitivity and depth, and it demonstrates how the band is capable of achieving remarkable results, especially without being showy. Lee's voice reaches its peak expressiveness in this track. The conclusion is truly spine-chilling. "Mystic Rhythms" features syncopated drumming and dark sounds with excellent guitar passages by Lifeson.

There is still much to describe about this magnificent live album, but it seems fair not to take away all the pleasure of listening. Surely there is a slight sense of regret that no songs from the '70s were played, but it is undoubtedly a logical consequence of the artistic choices made by the group regarding how to present themselves musically and artistically in those years. An undoubtedly courageous choice that demonstrates, without a shadow of a doubt, their considerable artistic maturity. A recommended album for all fans of this musical genre, but nonetheless, also for those more attached to the progressive sounds and musical structures of the '70s. Also worth mentioning is the valuable booklet, which features various imaginative photographs from the concerts.

Rating 4.5