I became a fan of the Canadian group Rush around the year 1984. I was certainly aware of them prior to that, and liked (sort-of) their music at that point, but it was the
Grace Under Pressure album and videos that turned my curiosity into true fandom. Well-played and orchestrated hard rock that allowed itself to change with the times while staying true to itself, lyrics that sounded like somebody with a brain wrote them for people with brains, without insulting those same brains, and Geddy Lee's distinctive high-register voice and bass playing, hooked me in.
I really became a fan with the release of the Power Windows album in 1985. From the crashing opening chord of
The Big Money to the fade-out of
Mystic Rhythms, the album was an impeccably produced masterpiece of 80's hard rock. Considering how highly-produced the album was, with all of the keyboard textures, and the use of a choir and orchestra, I figured that given all of this group's talent, that there was no possible way that they would be able to pull off playing this music live without hiring "ringers" - additional musicians to help fill in the gaps that a power trio supposedly could not. This has been done by countless bands - the "other" Canadian power trio, Triumph, would bring Rick Santer on the road as an additional guitarist/keyboardist. Toto, in their heyday a 6-piece, would bring additional players, as well: one or two additional guitar players, a percussionist, and background singers usually form the complement of hired guns in their shows. Queen, essentially a power trio with a front person, would bring in Spike Edney for additional keyboards or guitar for the road. The list goes on...
But not with Rush. The only time they took outside musicians on the road was during the
Clockwork Angels tour, with their string section playing behind Neil and nearly getting torched night after night by the pyrotechnics. Prior to then, and since, the stage was only populated by Geddy, Alex, and Neil. Their "fourth member", if you will, was technology - samplers, sequencing, and MIDI device links were coming into the mainstream of music around the same time, and the band jumped in that pool, feet first. After some initial struggles with the technology, some of which were experienced during their first tour with it, the band eventually learned how to play with and around it. A prime example of this is in the last cut off of side 1 of Power Windows,
Marathon. It was seeing Rush play this song live, and on a concert video, that convinced me once and for all about the band's greatness.
The studio version provides the standard from which the live versions can be compared, with all of the keyboard textures, and string and choir arrangements (as I remember, for the recording they used a real choir and real orchestra).
The Show Of Hands version, recorded in 1988 at the Birmingham NEC in England, shows how much of the sonic space is taken up by Alex's guitar during the verses, the instrumental break prior to the solo, and finally (and brilliantly), the five-note buildup from the end of the third verse ("First You've Got To Last") to the final chorus (complete with the choir and orchestral samples). I also confess that I
love the point where, during the buildup to the final chorus, Geddy stops playing and you just hear Alex's high note and Neil's snare drum bringing in the same final chorus - I wish they would have continued using this pause in future live versions, because it adds rhythmic punch and drama to the final chorus.
The Time Machine version (from 2012) contains what sound like keyboard, choir, and orchestral samples from the original recordings, unlike the 1988 version - still, it was welcome to hear this song live again, 24 years after A Show Of Hands.
The point here is in how this Canadian power trio can sound like a band twice it's size (or larger). Outside of the liberal application of technology (Alex's guitar effects and amp rack is legendary for its size, Neil's kits were renowned for their tone and girth, and in the 1980s, Geddy's synth setup was formidable too), the un-kept secret here is in the use of rhythmic and harmonic space. Trios have a
huge sonic canvas to fill, and Rush proved to be the masters of how to fill this sonic space with the right notes and the right sonic textures. I would say, then, that Rush is the logical extension, and logical conclusion, of how far the power trio format can be taken.
(For you lawyer types: The links provided here take the viewer to copyrighted material. The original recording of Marathon, along with the Show of Hands video, are owned by Universal Music Group. The Time Machine video is owned by Anthem Entertainment/Zoe Records. These links are provided purely for educational/informational purposes and no infringement is intended. If requested, I'll remove the links.)