I became a fan of Rush at the age of sixteen, when in January 1989, I purchased my first of their albums: A Show of Hands. With very little understanding about the history of Rush at that point, I enjoyed each and every song, not realising that just one dated from before the start of the decade. Following A Show of Hands, Hold Your Fire and Power Windows were added to my collection, with the latter remaining my favourite Rush album of them all.
Over time, I have come to appreciate the entirety of Rush’s discography (some of the material on both sides of the 1980s is spectacular) but looking back, it is clear that A Show of Hands and the timing of discovering that album had a significant impact on my love of 1980s Rush – it is still my favourite era of the band. There are many worthy contenders for the most outstanding tracks they produced during that most interesting of decades. Ranking albums and songs is purely subjective and I have no doubt I will have missed out some of your favourites (my shortlist comprised of over forty tracks) or placed another completely differently. Nonetheless, here are the twenty that have resonated the most with me during the last 35 years. Please add your own comments and lists at the end.
20: Losing It (Signals, 1982)
Among the most beautiful tracks ever recorded by Rush and like all the songs in this list, the lyrics complement the music in the most wonderful way. Only performed live towards the end of the band’s playing days, it sometimes appears that it is somewhat of a hidden gem but almost every Rush fan I know rates this song highly. There is a raw vulnerability in the delivery of Geddy’s vocals, vividly describing the fear and frustration of losing the ability to create and perform. The beautiful solo by Ben Mink is a highlight of the song, his haunting and soulful violin adding an extra layer of depth to the arrangement.
19: Lock and Key (Hold Your Fire, 1987)
Lock and Key is - lyrically at least - the darkest track on Hold Your Fire. Dealing with the difficulty of keeping instinct concealed and feelings protected from others, it is a strong lyrical entry by Peart. Alex’s guitar solo shows that despite some of his misgivings around the increased used of keyboards during this time, he still had plenty to offer. The live version of the track did appear on the laserdisc version of A Show Of Hands but unfortunately not the CD, VHS or DVD so obtaining a live version (other than on YouTube) is difficult.
18: Available Light (Presto, 1989)
Beautifully crafted, Available Light is another overlooked classic. While Presto is often cited as an album with poor production values, Available Light is testament to the band’s ability to create a captivating atmosphere. Bringing Presto to a close in dramatic fashion, it belies its five-minute length with traits of an epic, slower burner. The quieter, unassuming verses and more powerful choruses build during the song, weaving Neil Peart’s tale of the human spirit and the importance of personal choice.
17: Emotion Detector (Power Windows, 1985)
I once read an interview with Alex Lifeson in which he said that Emotion Detector was the most difficult track on Power Windows to get right. It is to our benefit that they persisted with it, as again, here is something of a hidden gem – it is the only track from Power Windows never to be played live. Containing a remarkable solo by Lifeson, the track bristles with energy and vibrancy, delving into the realm of human emotions, shedding some interesting light on the subject, profound even within the lyrics written by Peart during the whole of the 1980s. It is true that love can change us / But never quite enough / Sometimes we are too tender / Sometimes we're too tough / If we get too much attention / It gets hard to overrule / So often fragile power turns / To scorn and ridicule Sometimes our big splashes / Are just ripples in the pool.
16: Mystic Rhythms (Power Windows, 1985)
A second track from Power Windows and in some ways the most interesting on the album, Peart was really on form with his lyrics for this album and the intricate drumming for this track was a departure from the norm. The marriage of lyrics and music is truly impressive and it is a thrilling ending to the album: eerie, ethereal and quite magnificent. Mystic Rhythms worked particularly well live and makes for a truly immersive, almost hypnotic experience.
15: Limelight (Moving Pictures, 1981)
Deeply personal, Neil writes about an issue he was dealing with at the time and indeed throughout his career. Lifeson’s solo displays his talent for colour and texture rather than simply playing the most notes possible; it is lonely, melancholic and emotive. Deservedly played live hundreds of times, it sits as a popular song amongst all Rush fans.
14: The Camera Eye (Moving Pictures, 1981)
The longest Rush song of the 1980s (and the last song the band wrote which exceeded eight minutes), The Camera Eye portrays Peart’s observations on New York and London. Seamlessly blending the band’s more progressive tendencies with their more recent experiments with synths, the song shifts through different time signatures, complex arrangements and a narrative structure that takes the listener on a wander through the two great cities.
13: Between The Wheels (Grace Under Pressure, 1984)
We might be back in hidden gem territory here. The first entry from Grace Under Pressure and its a track that crept up on me over the years. Seeing the band play this song at Wembley Arena on the Snakes and Arrows tour totally blew me away and reminded my just what an amazing song it is and it began a steady climb up my list. Introspective and philosophical, Between The Wheels serves to remind us how fleeting life truly is.
12: Tom Sawyer (Moving Pictures, 1981)
Embodying traits of individualism and non-conformity, the lyrics of Tom Sawyer are some of Peart’s most considered and this remains iconic as a track that is seen as defining the band’s sound. Played live during every tour since its release, it is always interesting to hear as Neil said he enjoyed playing it because it was difficult, and therefore always a challenge. Forever technically proficient and musically complex, Tom Sawyer contains drumming that – even by his standards – is some of the best committed to tape.
11: Manhattan Project (Power Windows, 1985)
Dealing with a dark moment in human history but lyrically affecting and thoughtful, it was great to hear this one live on the Clockwork Angels tour, complete with string section. It worked extremely well and it still sounds as fresh and vital as the first time I heard it. Cinematic in approach, Manhattan Project is well judged to reflect the serious subject matter. Lifeson’s guitars may be a little more subdued than on other tracks from the time but they are tasteful and effective nonetheless.
10: Spirit of Radio (Permanent Waves, 1980)
Into the Top 10 we go and here is Rush's greatest hit. Certainly, it was the one featured on many rock compilations of the eighties. Amongst the band's most durable and legendary tracks, it is still refreshing to hear the opening line of the lyrics and musically it signalled the beginning of an entirely different sound for Rush. After the complexities of Hemispheres, it is easy to see why (as Geddy mentioned during the Beyond The Lighted Stage documentary) they “ran away from Hemispheres straight into the arms of The Spirit Of Radio." The band had taken their progressive leanings as far as they could and for me, they became even better due to the changes they made on this album.
9: Mission (Hold Your Fire, 1987)
Mission has been a favourite of mine since I first heard it after that initial purchase of A Show of Hands. I was delighted to hear this live on the Snakes & Arrows tour. Rush were a band who knew how to make use of their back catalogue. Lyrically, this is another very strong track. The key line in the entire song is, "We all pay a fabulous price, for our visions of paradise." Surely, a line about Neil Peart himself as much as the common man.
8: The Analog Kid (Signals, 1982)
Fast paced, energetic and charismatic, with guitar driven verses and glorious keyboard-based choruses, here is one of the best marriages between the two instruments throughout this entire countdown. The Analog Kid spoke to teenagers across the world with its analysis of youth, the transition into adulthood and the balance of dreams and aspirations, balanced with the uncertainty of the future. Driven by Neil’s insistent drumming throughout and featuring a stunning solo from Lifeson, it showed just what Rush were capable of as they fully embraced this new era.
7: Time Stand Still (Hold Your Fire, 1987)
Lyrically, this song becomes more relatable with the passing of time; for me, it has certainly grown more meaningful over the past 35 years! Every year seems to pass more quickly than the last. Aimee Mann's backing vocals, while short, make a significant contribution to the overall feel of the track and Neil Peart's drum work, particularly during the chorus, never fails to please.
6: Afterimage (Grace Under Pressure, 1984)
This track, personal to the entire band, is brimming with sentiment. Lyrically of course, it hits the heights while covering a tragedy - a tribute to the life of a friend. However, it also gives the very clear message of making the most of the time you have and of appreciating all of those around you. A line of this lyric was used on the cover of Different Stages to remember the devastating losses suffered by Neil Peart; unsurprisingly, they did not play this one live in later years.
5: Jacob’s Ladder (Permanent Waves, 1980)
A lyrical depiction of a thunderstorm, of a battle between light and cloud, this is a juggernaut of a song. It effortlessly traverses soft progressive rock to progressive metal. It contains a favourite lyrical section of any song by anyone and reveals the true meaning of the track: All at once, the clouds are parted / Light streams down in bright unbroken beams... / Follow men's eyes as they look to the skies / The shifting shafts of shining weave the fabric of their dreams. Lyrical genius.
4: The Pass (Presto, 1989)
Along with Afterimage, lyrically, The Pass is the most poignant Rush track (this one deals with teenage suicide). It is musically potent; the build up in this track is so tastefully structured and the short solo by Lifeson is sublime. On the Rush In Rio DVD, Neil Peart shows his own appreciation of the song when he states: "not only for what it expresses explicitly lyrically, but because it is one of our better crafted ones."
3: Marathon (Power Windows, 1985)
Using a marathon as a metaphor for life, Peart continues his trend at this time for songs about the passing of time and seizing opportunities. A 25-piece choir were used in the recording of this track and the ending where they feature is wonderfully climatic. I had been waiting 23 years to see them play this track live when they finally did so on the Time Machine Tour. It did not disappoint and was the one of the highlights of the set.
2: Middletown Dreams (Power Windows, 1985)
Power Windows signals the peak of the band’s use of synthesisers and Middletown Dreams is the diamond amongst the eight gems on the album. Rush managed to evolve their sound, while maintaining their technical proficiency. Along with Jacob's Ladder, this was a track I was destined to never see live. I saw the alternate set on the Clockwork Angels tour, meaning I did not hear this nor The Pass (although they did play Manhattan Project).
1: Subdivision (Signals, 1981)
When I first listened to A Show of Hands, this was the track that stood out above all others. Neil Peart's story of the feeling of being a teenager trapped by circumstance is one that resonated with me in the most profound of ways – a feeling I remember to this day. I was that awkward teenager and completely understood the exploration of isolation and being a slave to conformity that Peart discusses within the lyrics. Every Rush track was precisely crafted and constructed but Subdivisions is the pinnacle of their achievements. It is my favourite Rush track of any era.
Written: 21st December 2023 (International Rush Day!)
Listen to my playlist of My Top 20 Rush Songs of the 1980s below.
Great list, however it does highlight your introduction to the band (like your penchant for mid era Sabbath 😉). While I don't subscribe to the 2112 crowd I'm missing entries from Hemispheres, notably " The Trees" and "La Villa Strangiato".
Great list, great song analysis too. My list for this era would be 70% the same. Possibly because first Rush record I listened was Presto and first one I owned was a Show of Hands.