The only two Rush songs that mention “rock n roll”
Rush have always been an enigma in rock music. Despite being one of the most technically gifted and forward-thinking bands of all time, they never felt the need to constantly remind the world of their rock credentials. While bands like Led Zeppelin, AC/DC, and Kiss were busy singing about ‘rock and roll,’ Rush were too preoccupied with actually living it.
Across a staggering 41-year career, the Canadian trio—Geddy Lee, Alex Lifeson, and Neil Peart—crafted some of the most intricate, experimental, and influential records in rock history. And yet, remarkably, they only referenced ‘rock and roll’ in two songs: ‘The Best I Can’ and ‘In the Mood’.
Unlike Joan Jett & the Blackhearts’ emphatic declaration in ‘I Love Rock ‘n’ Roll’ or Led Zeppelin’s aptly titled ‘Rock and Roll’, Rush took a different route. Their rebellion was subtler—more intellectual, more measured. While they constantly evolved their sound to remain relevant across decades, they never felt the need to pander to rock clichés. ‘When Best I Can’ appeared on Fly By Night, it was one of the few moments where Rush’s lyrics acknowledged the genre itself, and it was notably penned by Geddy Lee rather than Peart. Meanwhile, ‘In the Mood’, taken from their self-titled 1974 debut, was as close as Rush ever got to a conventional rock anthem.
Even as they embraced progressive elements and complex compositions, Rush were never afraid to adapt. Lifeson recently reflected on his formative influences, crediting Rory Gallagher as one of his earliest inspirations. Meanwhile, Peart—widely regarded as one of the greatest drummers of all time—once pointed to Moving Pictures as the album where Rush perfected their approach.
Released in 1981, the record saw the band refining their signature blend of progressive rock and concise, radio-friendly songwriting. “When punk and new wave came, we were young enough to gently incorporate it into our music, rather than getting reactionary about it,” Peart explained. “Other musicians would say, ‘What are we supposed to do now, forget how to play?’ We were fans enough to go, ‘Oh, we want that too.’ And by Moving Pictures, we nailed it—learning how to be seamlessly complex and to compact a large arrangement into a concise statement.”
That constant evolution meant that even older material continued to reveal new layers. In a 2012 interview with Rolling Stone, Peart spoke about rediscovering certain songs on tour. “We had a very successful revivification of some of the material that we thought could be better than it was originally, like the title track to Presto,” he said. “We just loved playing it last tour, and we played it in a way that we couldn’t when we were touring in 1989.” The drummer recalled discussing the track over dinner with his bandmates, marvelling at how much it had improved. “That song is so much better than it ever was,” he noted. “It has a feel that it should have had on the record.” Geddy Lee, ever the pragmatist, responded: “Well, we have a different clock now.”
Of course, not every Rush album met Lee’s exacting standards. Looking back on 2002’s Vapor Trails, he admitted that the band had overcooked the production. “Everybody went their own way. I took the record to New York to master it,” he explained. “By the time I had a couple of weeks off to hear it clearly, I realized we had kind of overcooked the record. The mixes were really loud and brash. The mastering job was harsh and distorted, but, by then, it was out of my hands. It was already out.”
Rush’s legacy isn’t just in the complexity of their music but in their willingness to push boundaries without ever losing sight of who they were. They didn’t need to sing about rock and roll to prove they were rock and roll—everything they did already spoke volumes.
