Every era of Rush has something special to offer, so following my article ranking my Top 20 Rush songs of the 1980s (read it here), I have decided to rank and discuss my favourite songs covering the period from 1990 onwards. Having become a Rush fan during 1989, all of the albums mentioned below are ones I purchased on the day of release and each of them has some tracks worthy of inclusion in this list.
Ranking albums and songs is purely subjective and I have no doubt I will have missed out some of your favourites or placed another completely differently. Nonetheless, here are the twenty that have resonated the most with me during the last three decades. Please add your own comments and lists at the end.
20: Test For Echo (Test For Echo, 1996)
Having taken some time off following the Counterparts Tour, Rush reconvened in October 1995 to work on new material. The resulting Test For Echo, while the most progressive album the band had produced for a while, does not always rank well with fans either musically or lyrically. Despite this, there are a handful of tracks that have aged a little better, including the title track. Geddy Lee’s bass lines are robust and intricately woven, with Neil Peart’s intelligent percussion creating an engaging soundscape. Dealing with themes of communication and societal noise, it also survives as a track with more intriguing lyrics.
19: One Little Victory (Vapor Trails, 2002)
Following the terrible tragedies suffered by Neil Peart, there was some debate as to whether Rush would ever reunite. Six years after the release of Test For Echo, Vapor Trails was released and for the first time since Caress of Steel, it was an album that did not feature any keyboards or synthesisers. Fans welcomed the announcement of their return and the song’s energetic tempo; Peart’s blistering drumming from the first second and meaningful lyrics was a testament to Rush’s resilience and ability to evolve. The first track to be remixed following comments from fans (and the band) about the album’s sound, it became even more powerful in that form.
18: Headlong Flight (Clockwork Angels, 2012)
With a nod to Bastille Day, and bursting with energy, pulsating bass lines and fiery riffs, Headlong Flight was the perfect taster to the Clockwork Angels when it was released ahead of the album. Although Caravan and BU2B had been released some two years previously, this was the first new music since that time. As with all the best songs by Rush, each member shines throughout, with different segments of the song also highlighting their individual technical ability. With lyrics reflecting on life’s journey with a mixture of nostalgia and urgency, it is a standout track from trio’s final album.
17: Driven (Test For Echo, 1996)
The standout track from Test For Echo, Driven showcases the band’s musical prowess and lyrical depth. With three bass tracks from Geddy Lee and a complex, syncopated rhythm, Rush’s virtuosity is compelling, while the lyrical themes of self-determination and inner conflict also delve into the struggles of maintaining control and direction in one’s life. Lifeson is sharp and precise, adding a layer of intensity. As with many songs by the band, it would become even more colossal in the live arena.
16: The Anarchist (Clockwork Angels, 2012)
An enthralling fusion of narrative depth and musical sophistication, The Anarchist has several dynamic and tempo shifts, together with a theme of resentment and rebellion brought to life through Neil’s evocative lyrics. The lenses inside of me that paint the world black / The pools of poison, the scarlet mist, that spill over into rage / The things I've always been denied / An early promise that somehow died / A missing part of me that grows around me like a cage. With driving bass and guitar, The Anarchist balances melody and power producing a rich sound.
15: Stick It Out (Counterparts, 1993)
The first of several tracks from Counterparts (my favourite post 1980s album), Stick It Out is a powerful, stripped back track. Heavy riffs and thundering bass line combine in a song that – alongside Cut To The Chase - adds something a little different to Counterparts at a time that the band might have been considering the huge impact of grunge. Lyrically, it may not be as strong as other tracks on the album but the groove and feel of Stick It Out is what makes it so irresistible.
14: The Big Wheel (Roll The Bones, 1991)
Continuing the shifting approach that the trio established on Presto, Rush continued to evolve as guitars and keyboards became more balanced in their sound once again. As a big fan of the band’s 1980s material, a track such as The Big Wheel was always going to attract my attention. Long a favourite from the album, Peart’s lyrics of fate, chance and the cyclical nature of life still resonate. It seems to be a song that split the fanbase - many dislike Geddy’s delivery of the line Looking for love, for example. However, with some beautiful vocal harmonies and a strong chorus, to me at least, it is one of the most underrated tracks in their catalogue.
13: Leave That Thing Alone (Counterparts, 1993)
Having included an instrumental track on Roll The Bones – the first since 1981’s YYZ, Rush decided to continue this trend with Leave That Thing Alone, on which they sound as if they are having enormous fun. While Where’s My Thing? was fun, Leave That Thing Alone is a much stronger composition overall. Geddy Lee’s funky bassline and a tasteful but infectious hook from Alex meld in a track that, by Rush’s standards, may not be the most elaborate they have ever produced but one that remains cohesive and appealing throughout.
12: Secret Touch (Vapor Trails, 2002)
When Geddy Lee names a song as a favourite, you know it’s a good one. Such is the case with Secret Touch, a track that was not long in the setlist but I saw them play at Wembley Arena in 2007. Balancing introspective lyrics with fluid, dynamic bass lines that propel the track forward, Secret Touch is in the words of Geddy Lee, a bit of an extravaganza. “The tune has a hypnotic feel, and because we weren't happy just enjoying that feel, we had to smack it up with some power. When we get to the middle section and all hell breaks loose, there are these stuttering bass punctuations.”
11: Ghost of a Chance (Roll The Bones, 1991)
Rush did not focus on love and relationships as much as many other rock bands but when they did, the lyrics were always philosophical, perceptive and, often, optimistic. It is a track that grows through several sections making outstanding use of dynamics, reflective musical passages and emotional beauty, with the crown jewel being Lifeson’s solo; his fingers conjure the feel of serendipity as he cocoons the listener in a sound that is simultaneously comforting, mesmeric and exhilarating.
10: The Wreckers (Clockwork Angels, 2012)
A masterful blend of evocative lyrics, dramatic storytelling and absorbing melody, The Wreckers is a standout track from the tremendous Clockwork Angels album. The album itself has sometimes been criticised for compression in its production values but on some tracks, including The Wreckers, Geddy’s vocals shine bright capturing the sense of impending doom and the tragic fate of the sailors. With lyrics that also suggest a broader commentary on the dangers of blind faith and misplaced trust, the track conjures wonderful atmospheres during the central “storm” section, magnificent with strident synths and the whole band coming together.
9: Animate (Counterparts, 1993)
Amongst my favourite opening tracks from any Rush album, Animate was a signal of intent from Rush as to the direction they were taking following the more transitional albums Presto and Roll The Bones. Some wonderful interplay between bass and drums helps drive the song, while Alex Lifeson’s solo begins with expressive, melodic phrasing before building in intensity weaving through the song’s rhythmic framework with accuracy and flair.
8: Earthshine (Vapor Trails, 2002)
A track that takes no time to get going, Earthshine excites from its first seconds and it was the first song on Vapor Trails to click with me. Lifeson is once again on excellent form, alternating between heavy riffs, melodic leads and nuanced passages. Neil’s drums amplify the emotional impact and his multi-faceted approach mean his fills are tasteful and impactful, while the varying time signatures never allow the song to become stagnant. A track that, according to Geddy, changed significantly from its original incarnation and another that benefitted from the remix it received (initially for Retrospective III), Earthshine is a fine example of Rush in the new millennium.
7: Cold Fire (Counterparts, 1993)
Counterparts has remained high in my list of Rush albums (of any decade) since its release and Cold Fire was a track that I liked from first listen. Another mature and intuitive analysis of the heart from Neil, Cold Fire is a high energy rock track with a wonderful chorus and interesting lyrics. A phosphorescent wave on a tropical sea / Is a cold fire (Don't cross the line) / The pattern of moonlight on the bedroom floor / Is a cold fire (Don't let me down). On the tour for the album, Geddy Lee jokingly introduced it as a “good old-fashioned country song,” complete with an accompanying riff!
6: Far Cry (Snakes and Arrows, 2007)
Featuring Lifeson’s famous “Hemispheres” chord, Far Cry begins Snakes and Arrows in style with Peart revisiting his lyrical penchant for societal observations. A gripping rock song, it sees Rush at their most progressive for some time. Many reading this list will balk at the paucity of tracks from Snakes and Arrows and honestly, it surprised me too. However, this is more a reflection of my love for and quality of other albums than it is from a lack of interest in Snakes and Arrows.
5: Everyday Glory (Counterparts, 1993)
Rush had produced some stunning album closers by this point in their career and Everyday Glory deserves to be considered with them. Sparkling and scintillating, this examination of resilience, hope and the ability to find meaning in everyday struggles, it is inspirational and motivational, while not shying away from the realities of life. If the future's looking dark / We're the ones who have to shine / If there's no one in control / We're the ones who draw the line.
4: Bravado (Roll The Bones, 1991)
Another track favoured by Geddy Lee, Bravado is a track imbued with a sense of humility, realism, and eschewing grandiosity for a more grounded reflection on life’s trials. Musically, Lifeson’s gorgeous solo is mixture of sustained notes and tasteful bends that convey a sense of longing and contemplation - a wonderful example of Alex serving the solo rather than overshadowing it. Geddy is plaintive but uplifting adding sincerity and vulnerability to the lyrical content. A fan favourite from the album, Bravado easily earns its place in my top five.
3: Dreamline (Roll The Bones, 1991)
The last of four songs from Roll The Bones to feature in this countdown, Dreamline was the perfect opener with which to signal much of what was to come on the album. While it appears simple – and in some ways, by Rush’s standards, it is – Dreamline still crackles with a pulsating groove, creative drum fills and a vivid, expressive solo from Lifeson. Remaining in the setlist for over twenty years, it was a track that both the band and fans enjoyed live.
2: Nobody’s Hero (Counterparts, 1993)
The expressive words of Nobody’s Hero can be counted with the best of Neil Peart’s considerations of heroism and societal values. Deceptively simple at its outset, the track swells with grandeur due to Michael Kamen’s lush string arrangements as it progresses. The interplay between the softer, contemplative verses and the more anthemic choruses is managed with Rush’s typical aplomb. Geddy gives a passionate performance while Lifeson, yet again, avoids flashy technique in favour of a more soulful and melodic approach.
1: The Garden (Clockwork Angels, 2012)
Tender, epic and moving, The Garden stands as a fitting final track for the band. Closing the Clockwork Angels album, it has a deeply introspective lyric which contemplates the passing of time and the cultivation of a meaningful life with the metaphor of a garden serving as powerful symbol for personal growth and the nurturing of one’s soul. Several different musical sections link to make The Garden utterly beguiling. From the sincerity of Geddy’s vocals, including during a heartbreaking segment accompanied by piano, to the soaring solo by Alex and its majestic finale, The Garden has taken on even more weight since the passing of the man who wrote the remarkable lyrics.
Written: 29th July 2024 (Geddy Lee's 71st Birthday)
Listen to my playlist of My Top 20 Rush Songs (1991-2012) below.