Rush: “Hold Your Fire” – 30 years old

[iguana]

to many PE’rs here it's probably not an album that warrants an anniversary shout out – but it is the first RUSH album that i ever owned and, thus, one that – among others – sent me off to many other toys in the attic. here is my recollection …

You never forget your first Dime bar, they say. Equally you’ll probably never forget your first crush. Here’s another rule of life which remains eternally applicable: you never ever forget your first Rush album. Mine is this one, 1987’s “Hold Your Fire”. Not “2112”. Not “Moving Pictures”, not “A Farewell To Kings” or “Counterparts”. It was released 30 years ago today and – nowadays somewhat relegated to sleeper status within the band’s vast catalogue – it is the first one for me and thus holds a very special place.

Although released during their synthesizer oriented middle era the focus on songcraft is much more palpable than on its more ebullient and effect-laden predecessor “Power Windows” and therefore bears some early indication of the more rootsy approach that Rush was to take during the ensuing years; not least because of having taken this development to an extreme which made live performances increasingly arduous and convoluted for the Canadian trio. One aspect however had always persisted during these years: underneath all of the keyboard flash and electronic soundscaping running rampant the core of three hideously talented individuals jamming away on the primal values of bass/guitar/drums was never lost for one second. While “Power Windows” still bristled with youthful exuberance “Hold Your Fire“ decides on a much more restrained approach as Lee, Lifeson and Peart walk into early middle age; especially Lee’s lower register – miles removed from the banshee shrieks of yore – is a welcome asset, as is Lifeson’s ever intriguing, minimalist guitar barrage that permeates all of the album’s tracks. Lastly – whatever one chooses to call him, whether Neil, Pratt or The Professor – Peart is on nothing less than top form throughout and, by way of the record’s maturity and focus, in a much more discernible way than on previous sets. Despite the threesome’s upright egalitarian conduct and probably much to their mutual disapproval this is his album – he owns it.

There are a few duds to sit through (even by the band’s own admission); although lyrically strong, “Second Nature” never really pays off beyond thoughtful yet sedate MOR rock. The same yould be applied to the more compelling “Prime Mover” while the often maligned “Tai Shan” enchants via its elegant ride cymbal crashes as Neil gets Geddy to recount his impressions of travelling throughout China. “Hold Your Fire” is an album of hidden gems and lost treasures. Although “Time Stand Still” has all the markings of a (slightly left field) pop song, it posesses a snakecharm quality that only a band of Rush’s calibre could come up with: impeccable arrangement, thoughtful lyrics filled to the brim with deeply humanist values/vistas and enough compositional capacity to dig deeper and marvel at the unapparent details. Rush excel at another stirring album opener (“Force Ten”); “Lock And Key” as well as “Turn The Page” worked equally well on stage as they did on the record (although not really standing out enough) – and the 1:06 mark on track 3 (“Open Secrets”, in case you are taking notes) will forever remain chiselled as my favourite so-called Neil Peart moment. Ever.

Rush don’t merely play, perform and (all being well) entertain. They communicate. They mediate inbetween the entire gamut of music connoisseurs and rock fans. They took the art of being a people’s band to an unattainably high plateau which always invites but never dejects. With lofty ideals such as this they also require mediators. Hence – to wrap this up – you also never forget who got you into appreciating Rush first. I haven’t. You know who you are.

Freeze this moment a little bit longer.

[arabicadabra]

Now THAT is how you review an album.

Not at all my first RUSH album but absolutely my favorite, I love it for many reasons and was fascinated to read the ones you describe here. To me, the songwriting is their finest, the hooks (the single rarest commodity in modern prog that the 70s masters were overflowing with) so strong that I can't help wanting to pump my fist... (must resist.... but can't!). "Lock And Key" has an extended mini drum solo no one ever mentions (and those words!). "Time Stand Still" has lyrics that resonate forever, a jangling guitar bridge in 7 that is impossible not to groove to, and Aimee Mann's voice used like a keyboard over the top while Neil plays the music like the master he is. And "Turn The Page" is the greatest example of a bassist playing and singing two parts that have no connection rhythmically and killing it. Killing it! And from start to finish, this record has guitar tones to die for, inspiring John Petrucci later on to emulate many of them as closely as possible. Like Bruford's playing on Red and Discipline and Phil Collins' beats on Duke, Neil's parts have been a treasure chest for me to plunder to influence my own drumming whenever I get stuck for a creative approach.

I'm still wishing to "spend an evening with a drink and a friend". And play this album while we're hanging.

Thanks for sharing your insights.

[moecurlythanu]

One of my favorite Rush albums, with perhaps the best songwriting of their entire career.

[Interstellar]

One of my first Rush experiences (I discovered them in the early 90s), and my favourite album by them. I was later surprised to find that this album didn't seem to get much praise. (I understand the reasons why though.)
Your well written review sums up some of my impressions about the album. All band members give great performances. Geddy's voice works very well in the lower register. The guitar sounds great and finds a really interesting space in the middle of the bass/drums/keyboards combination. The record's sound is of its time but I feel it has aged pretty well. The band may be at its melodic peak on this album. Well, I like it.

[Zappathustra]

I think it's their worst output ever. Completely watered down, toothless mainstream rock. The songs aren't bad, just indifferent. Only Turn the Page brings some comfort.

It's good they realised the dead-end themselves. Presto and Counterparts are no masterpieces but at least they have some of the energy and the creativity of old days.

[Progatron]

Very fond memories of when this was the new Rush album. I was entering high school and I played the cassette to death in my old Sony Walkman, as I did with A Show Of Hands when it came out the following year. So while some may not care for the direction around this time, I can only look back at an album like HYF with great affection... I know every note, every nuance like the back of my hand.

I was finally old enough to go see them the next time around (Presto), but for the HYF period, constant album listening had to suffice!

[progfan915]

More HYF love here. Thanks for the review!!

[JKL2000]

Great review! HYF wasn't my first Rush album (I got into them a little after Moving Pictures came out, so Signals was the first new one that ran out and bought on release day), but I bought everyone on release day since then and HYF is one I really liked, and the 80s synthy period was pretty much my favorite. It was a good time to be going to college in upstate NY and able to catch shows each tour (the GuP tour is the only one I missed from the era, I forget why).

I actually like all the songs on the album. Tai Shan is one where if it didn't have the charms it has I'd say "It goes nowhere" and has no solos, etc., but it IS charming and those little Chinese-sounding guitar bits or whatever they are work perfectly for me. I actually wish Rush had slowed things down like this a few more times, and just kind of tried less to impress and be more atmospheric.

And I've mentioned this before so I'll be brief, but I saw Rush on the HYF tour on a very snowy night in Binghamton, NY when a lot of people didn't show up because of the weather, so it made for a MUCH roomier General Admission floor than usual, and I could really enjoy it.

Anyway, I'm a big fan of the album.

[N_Singh]

Probably their last a good record from the main sequence 1977-1987. After that, they trying to be a singer songwriters and started producing crap like the pass . I more or less stopped paying attention .

[Score2112]

Completely blew this album off when it came out, and it was only one of 2 tours I've missed since 1982. At the time I thought they went overboard on the synths and were too AOR for my younger tastes... particularly couldn't take Time Stand Still.

But around five years ago I rediscovered the album, and now think its an underrated gem. As mentioned, the songwriting is very good, and the playing, while not "heavy" per se, is as proficient as always, the bass in particular is fantastic. Its a great listen, almost top to bottom (still think Second Nature is horrible). In fact, I personally think Hold Your Fire is miles better than anything the band released in the 2000-2010's.

[Progatron]

Tai Shan is one where if it didn't have the charms it has I'd say "It goes nowhere" and has no solos, etc., but it IS charming and those little Chinese-sounding guitar bits or whatever they are work perfectly for me. I actually wish Rush had slowed things down like this a few more times, and just kind of tried less to impress and be more atmospheric.

I like it too - it's a shame both Geddy and Alex cite it as the worst Rush track ever. Heard them say in multiple interviews that it is one they wish they'd never recorded. I think Geddy even used the word 'embarrassment' in describing it. Oh well, I'm glad it's on the album.

[Facelift]

A very uneven album (Second Nature is pretty lame and Tai Shan and Lock&Key are unlistenable, IMO), but I really like the rest. A solid B+.

I used to think I was the only one who liked it.

Too bad Rush is gone.

[Nearfest2]

Big fan of HYF.

[dgtlman]

Turn The Page was one of the best songs this band ever did. Unfortunately it was only played on this tour. I think Ged once said it made him dizzy to play it.

[Tom]

I'm surprised by the intensity of feeling that people have for individual tracks. They're the best, or the worst ever, or unlistenable, or gems.

To my ears, the distinguishing feature of this album is its homogeneity. Of the eight songs, seven are almost interchangeable. (I make an exception for "Time Stand Still", which has more variety and drive and sounds less synthesized -- one of my own favorites, in fact.)

Zappathustra's description of the album as a "dead end" has some force. The Rush sound had been going in the same direction ever since Permanent Waves, and a course correction was needed.

[JJ88]

First Rush album I heard. Didn't like it then- just wasn't what I expected. Came to like it after having later heard the other 70s/80s albums, 'Force Ten' and 'Mission' in particular. Still don't like 'Tai Shan' at all.

[Facelift]

I'm surprised by the intensity of feeling that people have for individual tracks. They're the best, or the worst ever, or unlistenable, or gems.

To my ears, the distinguishing feature of this album is its homogeneity. Of the eight songs, seven are almost interchangeable. (I make an exception for "Time Stand Still", which has more variety and drive and sounds less synthesized -- one of my own favorites, in fact.)

Zappathustra's description of the album as a "dead end" has some force. The Rush sound had been going in the same direction ever since Permanent Waves, and a course correction was needed.

I will always have this album and Big Generator linked in my mind, as they came out at about the same time and I was pretty disappointed by both at first (because they weren't returns to the old sound).

[Steve983]

I love this album, one of Rush's many high points in the 80's.

[Paulrus]

I jumped on the Rush bandwagon with Exit... Stage Left and became a slavering fan-boy with Signals. I was disappointed by the change in direction with Grace Under Pressure, and while Power Windows was a bit of a return to form I also considered it part of the continuing move away from the "power trio-fu" that I felt had made them great to begin with.

It's funny how much opinions here can differ. When Hold Your Fire came out it confirmed to me that Rush really were chasing after MTV-inspired mass appeal. Silly videos, even more synths, less of Alex doing anything interesting, WAY too much electronic drums, and look -- a duet with Aimee Mann. I always enjoy "Turn the Page", but I consider it the nadir of Rush's 80s output.

I think I skipped seeing them on that tour. And Presto, which I now regret. Funny -- I feel like Presto was actually a move back in the right direction though I know many disagree. I feel like they lurched off track again with Roll the Bones but finally started to get their groove back with Counterparts.

[Score2112]

I jumped on the Rush bandwagon with Exit... Stage Left and became a slavering fan-boy with Signals. I was disappointed by the change in direction with Grace Under Pressure, and while Power Windows was a bit of a return to form I also considered it part of the continuing move away from the "power trio-fu" that I felt had made them great to begin with.

It's funny how much opinions here can differ. When Hold Your Fire came out it confirmed to me that Rush really were chasing after MTV-inspired mass appeal. Silly videos, even more synths, less of Alex doing anything interesting, WAY too much electronic drums, and look -- a duet with Aimee Mann. I always enjoy "Turn the Page", but I consider it the nadir of Rush's 80s output.

I think I skipped seeing them on that tour. And Presto, which I now regret. Funny -- I feel like Presto was actually a move back in the right direction though I know many disagree. I feel like they lurched off track again with Roll the Bones but finally started to get their groove back with Counterparts.

Same exact ESL - Signals experience here... I personally consider that period to be their peak... also have a fondness for GUP though. Power Windows is when I think the drop off began...

....and Presto was indeed a move back in the right direction. One of the most underrated albums of their catalog, IMO.

[Zappathustra]

I jumped on the Rush bandwagon with Exit... Stage Left and became a slavering fan-boy with Signals. I was disappointed by the change in direction with Grace Under Pressure, and while Power Windows was a bit of a return to form I also considered it part of the continuing move away from the "power trio-fu" that I felt had made them great to begin with.

It's funny how much opinions here can differ. When Hold Your Fire came out it confirmed to me that Rush really were chasing after MTV-inspired mass appeal. Silly videos, even more synths, less of Alex doing anything interesting, WAY too much electronic drums, and look -- a duet with Aimee Mann. I always enjoy "Turn the Page", but I consider it the nadir of Rush's 80s output.

I think I skipped seeing them on that tour. And Presto, which I now regret. Funny -- I feel like Presto was actually a move back in the right direction though I know many disagree. I feel like they lurched off track again with Roll the Bones but finally started to get their groove back with Counterparts.

Agree with every word of it.

[Facelift]

I jumped on the Rush bandwagon with Exit... Stage Left and became a slavering fan-boy with Signals. I was disappointed by the change in direction with Grace Under Pressure, and while Power Windows was a bit of a return to form I also considered it part of the continuing move away from the "power trio-fu" that I felt had made them great to begin with.

It's funny how much opinions here can differ. When Hold Your Fire came out it confirmed to me that Rush really were chasing after MTV-inspired mass appeal. Silly videos, even more synths, less of Alex doing anything interesting, WAY too much electronic drums, and look -- a duet with Aimee Mann. I always enjoy "Turn the Page", but I consider it the nadir of Rush's 80s output.

I think I skipped seeing them on that tour. And Presto, which I now regret. Funny -- I feel like Presto was actually a move back in the right direction though I know many disagree. I feel like they lurched off track again with Roll the Bones but finally started to get their groove back with Counterparts.

Presto represented a change of sound and, in contrast to HYF, it did at the time sound more organic. Looking back now, it (and Roll the Bones) actually sound fairly dinky (and there still were plenty of synths), especially in comparison to everything that they did after those. I agree that Presto is underrated, but it was too long and had several songs that I thought should have been left off. I liked the Presto tour.

[JKL2000]

I like it too - it's a shame both Geddy and Alex cite it as the worst Rush track ever. Heard them say in multiple interviews that it is one they wish they'd never recorded. I think Geddy even used the word 'embarrassment' in describing it. Oh well, I'm glad it's on the album.

Who are they to decide? To my ears it's no more out of place on HYF than Mystic Rhythms is on Power Windows (love Mystic Rhythms!). Not a political statement, but I just listened to Tai Shan and I want someone to edit it so that every time Geddy sings the word "China" they edit in Donald Trump's voice saying "China" instead. I'm pretty sure it would be hilarious.

I'm surprised by the intensity of feeling that people have for individual tracks. They're the best, or the worst ever, or unlistenable, or gems.

To my ears, the distinguishing feature of this album is its homogeneity. Of the eight songs, seven are almost interchangeable. (I make an exception for "Time Stand Still", which has more variety and drive and sounds less synthesized -- one of my own favorites, in fact.)

I agree with this, I'm surprised by the intense like and dislike for certain songs, but overall I think I like the songs a bit better than you do.

I was disappointed by the change in direction with Grace Under Pressure, and while Power Windows was a bit of a return to form I also considered it part of the continuing move away from the "power trio-fu" that I felt had made them great to begin with.

To me GuP doesn't seem like much of a change in direction from Signals. I can see what you mean, that it has less of a power trio format, but IMO it's about as strong an album as Signals, and at the time I was perfectly happy with it (and still am). You might mean the slight reggae influence - I know some feel it's more than slight. It works for me. If it was apparent on every album going forward it'd be too much, but since it's not.

About the song Mission, it's probably my favorite on the album. A few weeks ago it came on in the car when I with my teenage son, and I said this song has the best guitar solo. When it came up, I could kind of hear it through his ears, and it sounded a little cheesy/arena rock, but I still love it. And he likes Rush overall!

I'll bet Steven Wilson could remix the hell out of this album!

[Tom]

I jumped on the Rush bandwagon with Exit... Stage Left and became a slavering fan-boy with Signals. [...] I feel like Presto was actually a move back in the right direction though I know many disagree. I feel like they lurched off track again with Roll the Bones...

Same exact ESL - Signals experience here... I personally consider that period to be their peak... also have a fondness for GUP though.

Resounding agreement re Signals. It is less progressive than early Rush, but I never enjoyed the jamming-and-yowling stuff like "Temples of Syrinx".

In the later material, though, I have to defend Roll the Bones. It might have more strong material than any other Rush album. Not just the title track (with that glorious outburst at 3:43), but "Bravado", "The Big Wheel", "You Bet Your Life". And then there's "Heresy":

All those precious, wasted years --
Who will pay?

[Paulrus]

To me GuP doesn't seem like much of a change in direction from Signals. I can see what you mean, that it has less of a power trio format, but IMO it's about as strong an album as Signals, and at the time I was perfectly happy with it (and still am). You might mean the slight reggae influence - I know some feel it's more than slight. It works for me. If it was apparent on every album going forward it'd be too much, but since it's not.

If I were to boil down my objections to Grace Under Pressure versus Signals (and what came before that), it's when Rush started chasing after trends instead of setting them. IMO Hold Your Fire is the pinnacle of that phenomenon.

Mind you, I still get a lot of mileage out of GUP, but to me it represents a very noticeable and fundamental shift. And not in a positive direction.

And don't even get me started about Geddy playing a Steinberger.