Geddy Lee names the album that “embodies all the best things about rock ’n’ roll”
Rush were many things: mavericks on their respective instruments, masters of the live show, and, of course, prog rock legends. Together, Geddy Lee, Alex Lifeson, and Neil Peart revolutionised a unique prog sound despite the genre’s formative artists being trounced by the punk insurrection. Somehow, they used the fantastical form as the backdrop for creating their most impactful music, leading to immense success.
We often think of the Canadian band in terms of their remarkable musicianship. However, their story also features a great deal of grit and determination, and without it, it’s sure that they would not have reached the searing heights they did. It’s constantly forgotten that they did not start as a prog band, but, instead, were a hard rock outfit in the typical mould of the early 1970s. They only decided to institute a major sonic change on their third album, 1975’s Caress of Steel.
Although it was the moment Rush first dipped their toes into prog, it was an unmitigated disaster. The record was such a major critical and commercial flop that the label Mercury seriously considered dropping the band, and guitarist Lifeson, for the only time in his career, thought about quitting. Yet, in a display of their resolve, the trio returned to the drawing board, doubled down on their progressive sonic proclivities, and returned with their masterpiece, 2112. This was the start of the rest of their career.
This indefatigable spirit wasn’t purely natural. Rush had also learned to trust their instincts from their influences. Although much significance has been attached to the group’s deference to Led Zeppelin – whose records and live performances changed the members’ lives in myriad ways – another act also left an indelible imprint on their psyches: The Who. One area in which they particularly excelled, which rubbed off on Rush, was their refusal to give in to expectations.
Frontman Geddy Lee has extensively discussed how The Who changed his life. While the most apparent result is that John Entwistle’s thunderous approach to the bass opened the gates for his unique finger style, he also knew The Who’s daring sonic spirit was essential. If the British band hadn’t embarked on such an arc, it’s likely Rush would have stayed in the realm of hard rock and probably faded into obscurity.
Unsurprisingly, Lee’s favourite album by The Who is 1971’s Who’s Next. The expansive and musically dynamic body of work was developed from guitarist Pete Townshend’s Lifehouse rock opera, which he conceived as the follow-up to 1969’s Tommy. For Lee, this masterpiece symbolises everything that’s great about rock music, from the innovative spirit to the musicianship.
He told Classic Rock in 2020: “That album embodies all the best things about rock’n’roll – great songwriting, great playing. Almost every tune is a classic.”
He then praised Pete Townshend, labelling him “the greatest writer of rock songs”. Mentioning classics such as ‘Won’t Get Fooled Again’ and ‘Behind Blue Eyes’ from Who’s Next, Lee noted his grasp of stunning melodies and crunching hard rock and highlighted the frequently overlooked fact that he maintained a high level of consistency throughout the band’s career, no matter how much he evolved their sound.
