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Thread: You fave Rush sleeves?

  1. #1

    You fave Rush sleeves?

    Ok, I know i'm plaigarising but I thought this article by Rush's sleeve design artist was interesting. Can't say I agree with him though, Hemispheres will always be my favourite but it dosn't even make his top 10 ???

    Not only did he create the band's classic Starman logo for their 1976 follow-up 2112, he also took time out to play the ARP Odyssey on the album's timeless intro and washes of mellotron on Tears. Still an integral part of the extended Rush family, we asked him to pick the 10 best sleeves he's created for the band. Being Hugh, he came up with 11.

    1. MOVING PICTURES (1981)
    Despite budgetary limitations, for that time, and the challenges this concept posed... this was a pretty ambitious piece to undertake — from the cover to the inner-sleeve. I'm pleased that the outcome was so close to my initial vision. And, like some songs — this one came to me in an instant. Neil’s titles are like that. They inspire images and I have always been spoiled with his being the consummate wordsmith that he is. His wonderful titles were always eagerly anticipated by this art director. They were the point of departure for every album we did. I also came to discover, and delight in, a realization that these guys were into puns. Simple, elaborate, profound or glib. And, they knew how to let our visuals afford humor and mystery.

    2. GRACE UNDER PRESSURE (1984)
    By now, we had really hit our stride as band and art director. I was really enjoying the process of how Neil and I could discuss, and jam on ideas. Sometimes with immediate yields, and sometimes only finding the first of many. My initial inclination was to venture into an ultra minimal, almost ECM jazz label feel (I was listening to a lot of Keith Jarrett at that time), and in that cover’s frame, depict a field of a heavy tone over a calmer hue, so we would have pressure weighing down on grace. Sky and water. That’s when it occurred to me that this could also be a fraction with p/g (literally “p” over “g”). Then, as the evening and the Armagnac took effect, we found ourselves heading into a more metaphorical, surreal direction for the final themes of the painting. I also enjoyed that process ... painting. Something we only ventured into a few times hence. I still have the working sketch that I did that evening on a paper napkin.

    3. POWER WINDOWS (1985)
    Again, good to be painting this vision for the band’s cover. Also, a turbulent time for me, in many ways — then, losing my father in the midst of that project. This made for a truly cathartic need for me to go deeper into something, other than myself. So, that painting was my sanctuary, lasting the better part of eight weeks. Between my work, and the camaraderie of my good friend and master photographer, Dimo Safari, those can now be recalled as the best of times.

    4. HOLD YOUR FIRE (1987)
    I liked that the band could willingly dare to weave in and out of the graphically simplistic, to the more extravagant productions. This project had both. The stark red cover set up the icon for the entire campaign with the configuration of red spheres, whose formation was then rendered through photography, illustration, and miniature sets on the inner spread. A fun and ambitious undertaking.

    5. SIGNALS (1982)
    The fire hydrant and the firedog. This deceptively simple end result of an otherwise everyday occurrence in the dog world was the culmination of three months of conceptual cul-de-sacs. I like how graphically the primary and secondary colors worked, while depicting the theme with some still unsettling and unexpected whimsy. A moment from Twin Peaks.

    6. ROLL THE BONES (1991)
    Big project. Big production. I have always enjoyed the outcome of combining our full scale set of the foreground water, the boy and subway platform ... with the miniature wall of dice as the subway tiles. And, this was the genesis of a digital technology where I could move away from traditional retouching with bleach and dyes on a dye-transfer print, combining disparate images that would be composited into a final (and improbable) image on a singular print ... to where I could achieve all that ‘in the post’ with photo manipulation in Photoshop—all within the digital realm. Command-Z means never having to say you’re sorry.

    7. COUNTERPARTS (1993)
    What band in all of rock and roll would allow their art director to propose (with a straight face) a diagram of a nut and a bolt for such a potentially vast word as ‘counterparts’? So vast a word, that Neil and I could not stop thinking big. So we didn’t... for weeks and weeks!

    8. TEST FOR ECHO (1996)
    This was the first time we approached the 'album' for what the CD package really offered and inspired. Rather then bemoaning the decreasing surface area of the 12” LP to the CD booklet cover, we knew to keep the art more iconographic and suitable for the 4.75” square. We also embraced the opportunity to populate the inner panels of the book with new art for each song’s particular theme. Covers within covers. An adjustment, certainly ... but newer and different ways of thinking for enhancing the viewer’s experience.

    9. VAPOR TRAILS (2002)
    A culmination of years of silence and healing. But a wonderful thing to be collaborating again with Neil after five years. I loved how his explanation of Vapor Trails speaks to the flash of light that we know as our life, how life is fleeting like the comet passing above. I resisted all National Geographic or NASA photography, and felt that we should depict fleeting ... with fleeting. The painting that I did on an 18” square board was done between my morning coffee and lunch. It was always intended as the “sketch” for the actual painting I had planned. Neil liked the feel of the sketch, and it was with little-to-no convincing that I fell into step with his immediate response to it. With Andrew’s portraits as reference, I worked in a more urgent and gestural style than I usually was inclined to with (say) Power Windows to complete the three portraits in less than a week. Again, fleeting.

    10. CLOCKWORK ANGELS (2012)
    Here, I could enjoy a sizable deviation from our norm (though to Rush’s credit, unlike so many other artists, they always planned well ahead — allowing at least six months for each project to unfold). Thanks to the extension of the Time Machine tour for a second leg in Europe, and the fact that they only had two songs completed for this ‘work-in-progress’, I was able to begin work early on, and continue for a full 22 months in preparing the art for this epic saga from Neil. As the songs were completed and the lyrics were released, we were working pretty much in concert while they were writing, rehearsing and recording ... I was developing each illustration for the album. My file for this project remains unchanged as the original working title contender Steampunk Serenade. Some things never change.

    Oh, and I always liked (1977's) A FAREWELL TO KINGS, too. (11)

  2. #2
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    That's a cool article, thanks for sharing it.

    I've always loved the Grace Under Pressure sleeve. I think it really captures visually what the music says rhythmically.

  3. #3
    Member Paulrus's Avatar
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    Hugh Syme has never received the recognition he deserves IMO. His work is up there with Storm Thorgerson and Hipgnosis (who clearly inspired him). Even in the pre-Moving Pictures days He gave Rush a "grown up" and professional presentation that was head and shoulders above most bands back then. I remember as a fledgling graphic design student being knocked out at the quality of design that went into something as simple as the Archives 3-LP set from the late 70s.

    All that said, I also think he (and Rush) was guilty of getting a bit indulgent and excessive with some of their packaging as the 80s went into the 90s. But his covers were always direct, thought provoking, and beautifully executed.
    I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.

  4. #4
    Member Phlakaton's Avatar
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    Hold Your Fire always had a special vibe for me. Love the concept of it and the execution on the inner spread. It certainly seemed to fit with the late 80s era

  5. #5
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    I bought Hugh's book "the art of rush". He discusses all of the album covers, describing his techniques, the meanings, etc. it was very interesting, although I thought one thing was missing. I've read various threads about Vapor Trails, and how some people see the twin towers in the artwork. However Hugh makes no mention of this. He describes the fireball but no mention of the black bars on top and bottom. Are we reading things into this that aren't there? Or is he avoiding the subject? Just curious...

  6. #6
    I really dug the inside joke on the Clockwork Angels cover.

  7. #7
    I do like G/P a lot; that's my favorite. I think Moving Pictures is a little cheesy. Power Windows freaks me out. Signals is good. I like Permanent Waves and Farewell To Kings. The only two I hate are the first two. Actually, I think Caress Of Steel is a great cover as well. 2112 is pretty "meh". Everything after Roll The Bones is quite good.

  8. #8
    Quote Originally Posted by trurl View Post
    I do like G/P a lot; that's my favorite. I think Moving Pictures is a little cheesy. Power Windows freaks me out. Signals is good. I like Permanent Waves and Farewell To Kings. The only two I hate are the first two. Actually, I think Caress Of Steel is a great cover as well. 2112 is pretty "meh". Everything after Roll The Bones is quite good.
    Actually as simplistic as it is, the cover of 2112 is the only cover (I think) that can be tied thematically to the lyric content....that's where the 'star' symbol first appeared, and later you have our naked guy in front of it...as the artistic confrontation against conformity and oppression. I imagine Neil has a kinship with that cover as well...hence the Clockwork Angels cover, maybe?

    Most of the other covers are works of art, for sure, but have no connection to the music/lyrics. A Farewell To Kings, maybe....and I sort of like Moving Pictures for the stoopid pun quality, and it's a neat photograph.

  9. #9
    Yeah, F2K ties into the album title somewhat. Most of the the Rush covers tie in well with the titles but of course the titles rarely have much to do with the music itself... You're forgetting Hemispheres though. The whole Apollo and Dionysus intellect vs. emotion thing is pretty overtly represented, along with actual hemispheres

  10. #10
    That's Mr. to you, Sir!! Trane's Avatar
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    artworks only (including innerfolds)

    OK, well above the rest
    AFTOK,
    Hemispheres (don't care is some have nude male butt issues)
    2112

    bubbling under
    Hold Your Fire
    Roll The Bones
    Exit Stage Left
    All the World's A Stage
    Caress of Steel (flawed like the music)
    Test for Echoes


    Bubbling further under
    Moving Pictures
    Clockwork angels
    Snakes & Atrrows
    Permanent Waves
    Fly By Night.
    my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.

  11. #11
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    Wow! My list isn't even close to that artist's list of fav sleeves.

    My favs are:
    2112
    Rush
    Fly By Night
    Roll The Bones
    All The World's a Stage
    A Farewell to Kings


    For me most of the covers are way too cheezy and/or bland.
    The ones I dislike the most are:
    Signals
    Moving Pictures
    Hold Your Fire
    Exit Stage Left
    A Show of Hands
    Counterparts

  12. #12
    Quote Originally Posted by veteranof1000psychicwars View Post
    the cover of 2112 ....that's where the 'star' symbol first appeared, and later you have our naked guy in front of it...
    The "star man" actually comes from the inner sleeve of that album. In one of Ayn Rand's novels, it opens with the main character (Howard Roark?) standing naked on a cliff looking out on the world, and since 2112 has a dedication to Rand I assumed that's who the guy was supposed to be.

    Anyway, Test for Echo has always been the clear winner for me. I love that art. After that... considering how much I love Rush, I don't go crazy for the album covers.

    The next few that I think are good tend to be the simplistic ones - 2112, Hold Your Fire and Counterparts. 2112 seemed mysterious and evocative when I saw it in the record stores before I got into the band.

    Permanent Waves, Power Windows, Hemispheres and AFTK seem awkward.

    I remember seeing Presto in the record store when it came out, I was off the Rush bandwagon by then, and thinking that an album with fluffy bunnies on the cover couldn't possibly have anything heavy like Bytor and the Snowdog on it!

    The art that came with the two pre-release singles off Clockwork Angels was very good, much better than what was used when the album was released. I was surprised at how cheap the CA cover art looked in comparison to the singles.
    You say Mega Ultra Deluxe Special Limited Edition Extended Autographed 5-LP, 3-CD, 4-DVD, 2-BlueRay, 4-Cassette, five 8-Track, MP4 Download plus Demos, Outtakes, Booklet, T-Shirt and Guitar Pick Gold-Leafed Box Set Version like it's a bad thing...

  13. #13
    Studmuffin Scott Bails's Avatar
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    Quote Originally Posted by Garden Dreamer View Post
    The art that came with the two pre-release singles off Clockwork Angels was very good, much better than what was used when the album was released. I was surprised at how cheap the CA cover art looked in comparison to the singles.
    Totally agree with this. It looks like Syme whipped this one out in 15 minutes.

    Generally, I like most of their covers. Many of them have subtle elements that aren't necessarily noticed at first look. And I like that they're often a "package" and not just a cover.
    Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally

  14. #14
    Quote Originally Posted by Scott Bails View Post
    Many of them have subtle elements that aren't necessarily noticed at first look.
    Like the spots on the dalmation that form the word "RUSH" on the Signals album.
    You say Mega Ultra Deluxe Special Limited Edition Extended Autographed 5-LP, 3-CD, 4-DVD, 2-BlueRay, 4-Cassette, five 8-Track, MP4 Download plus Demos, Outtakes, Booklet, T-Shirt and Guitar Pick Gold-Leafed Box Set Version like it's a bad thing...

  15. #15
    Studmuffin Scott Bails's Avatar
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    Quote Originally Posted by Garden Dreamer View Post
    Like the spots on the dalmation that form the word "RUSH" on the Signals album.
    Really?
    Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally

  16. #16
    Member dropforge's Avatar
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    Overall fave is (still) Grace Under Pressure. Perfect art for their "science fiction" album. Pretty cool that it's Hugh's #2.

  17. #17
    Re the spots on Signals - Just had me looking to check! One of my fav albums of all time - should have known it was a wind-up!

  18. #18
    Looking at Signals and CMFA as I type this. I don't see the word Rush on the dog nor do I have any clue as to what hidden inside joke is on CMFA.

    Still looking after a few minutes, and still missing whatever it is I'm supposed to be seeing. Maybe I'm just dense.
    Carry On My Blood-Ejaculating Son - JKL2000

  19. #19
    Member dropforge's Avatar
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    I don't see "RUSH" in the spots, and I'm not going to stare at it for 2,112 hours until I do.

  20. #20
    It's in brail. You sort of have to feel it. With your eyes.

  21. #21
    Quote Originally Posted by dropforge View Post
    I don't see "RUSH" in the spots
    This is wacky... years ago someone pointed it out on the net and highlighted the letters. I'm looking at it now myself and I don't see it! It seemed so obvious then... not unless the guy photoshopped the pic? Spent a few minutes trying to find a reference to it on the web and nothing... sorry if I made anyone stare at the dog!
    You say Mega Ultra Deluxe Special Limited Edition Extended Autographed 5-LP, 3-CD, 4-DVD, 2-BlueRay, 4-Cassette, five 8-Track, MP4 Download plus Demos, Outtakes, Booklet, T-Shirt and Guitar Pick Gold-Leafed Box Set Version like it's a bad thing...

  22. #22
    I think I see it now... along the dog's lower body/belly area, the spots are ~sort of~ in the same "brushed" lettering as the word Rush on the top of the album cover. If you were to isolate the "h" in Rush on that cover, would you even know it's supposed to be an h?
    You say Mega Ultra Deluxe Special Limited Edition Extended Autographed 5-LP, 3-CD, 4-DVD, 2-BlueRay, 4-Cassette, five 8-Track, MP4 Download plus Demos, Outtakes, Booklet, T-Shirt and Guitar Pick Gold-Leafed Box Set Version like it's a bad thing...

  23. #23

  24. #24
    Member dropforge's Avatar
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    Quote Originally Posted by Garden Dreamer View Post
    ... along the dog's lower body/belly area, the spots are ~sort of~ in the same "brushed" lettering as the word Rush on the top of the album cover.
    You're right. I see all four letters. Mission accomplished! I can go eat now.

  25. #25
    Moderator Sean's Avatar
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    Quote Originally Posted by Phlakaton View Post
    Hold Your Fire always had a special vibe for me. Love the concept of it and the execution on the inner spread. It certainly seemed to fit with the late 80s era
    This^^ Though the inside could have made a cool cover.

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